Seduction has been the game most played through out the centuries, as males attempt to convince and invite females into their beds. In Marvell's "To His Coy Mistress" and Donne's "The Flea", the speakers, propose a peccadilloes offer, which is so cunningly backed up by a liberalistic argument and is presented to each female when the generous request has been declined. These arguments are designed to induce thoughts of a carnal nature. The persuasions used by each are completely different but are structured entirely for one purpose. 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. For Marvell, the argument was that there wasn't enough time left in the world, and that the maiden should partake in indulgence before it is too late." But at my back I always hear/ Times winged Charriot hurrying near"(lines 21-22). He also states the unpleasuarble thought of the worms enjoying her verginity instead of him. Suggesting that if she continues to waste time she will die a virgin. "then Worms shall try/ that long preserv'd Virginity:"(lines 27-28). Whereas Donne's argument revolves around a metaphorical flea. Which as claimed by the speaker, represents his union with the maiden in matrimony, since the flea has taken blood from them both."It suck'd me first and now sucks thee/And in this flea our two bloods mingled be"(lines 3-4). And, since their bloods have already mingled together, intercourse with him wouldn't be a sin and no honor would be lost if she yields to him."Though know'st that this cannot be said/A sin nor shame nor loss of maidenhood:" (lines 5-6) Though however similar the gist of the poems might be, the art of seduction used by each speaker is quite different. The speaker in "To His Coy Mistress" seems to change his tone of persuasion rapidly from stanza to stanza. At first he is sweet, comming across as a gentleman and overstating how many ages he would spent on a single part of her anatomy "A hundred years should go to praise/Thine Eyes.
The tone of the poem is conversational and pert written in a plain, informal style. Neither voice uses a lot of poetic imagery in any of the verses and the language is considerably colloquial not employing metaphor and ambiguity in terms of the meaning. A question is posed as the introduction and the address is clear; Lady Maria implores Gui D’ussel to engage with her in this dialogue and confronts him with questions regarding the dynamic of lovers. The taunting tone of the dialogue is suggestive of a courting between the two, however, it is not explicit about the nature of the relationship as they do not, on any occasion specify the lady and man in question. The ambiguity that does exist revolves around the authors’ position in the text and whether or not they are debating about courtly love in particular or whether the generality of the “lady” and “man” in question are their potential selves.
The bride is more comfortable with the animals on the farm than the farmer himself but the farmer is stuck in the marriage. Charlotte Mew wrote “happy enough to chat and play” to show the Brides feelings towards the animals whilst the farmer has “hardly heard her speak at all”. These lines are paradoxes to each other, this is similar to how Shakespeare shows unrequited love in Romeo and Juliet. Another line that represents the farmer’s unrequited love is “but what to me?” A chilling sentence in which the farmer is questioning his relationship. To His Coy Mistress’ aggressive speaker also suffers from unrequited love. He tries to manipulate his “lover” into marrying him by using aggressive statements. He says “we would sit and think which way” and “I always hear time’s winged chariot hurrying near” to try and get out of his unrequited love. He tries to get the lady to feel sympathy and guilt with the line “and into ashes all my lust” explaining that he feels pain whilst suffering from unrequited love. Although the speaker is trying to force his lover to marry him it is clear that the woman is the dominant force as she is denying his love. This makes the speaker appear more like a boy than a man, his character is similar to
In Andrew Marvell's poem "To His Coy Mistress," he's arguing for affection. The object of the speaker's desire wants to wait and take the relationship slow, while the speaker pushes for instant gratification. This persuasive poem makes the point that time waits for no one and it's foolish for two lovers to postpone a physical relationship.
During the 17th century, certain poets wrote poems with the specific purpose of persuading a woman to have sexual intercourse with them. Three of these seduction poems utilize several strategies to do this: Andrew Marvell’s “To His Coy Mistress,” and Donne’s “A Valediction: Forbidden Mourning” and “The Flea.” Some of the reasoning used by both poets is similar to the reasoning used today by men to convince women to have sexual intercourse with them. These gimmicks vary from poem to poem but coincide with modern day rationalization. The tactics used in 17th century seduction poems are relevant and similar to the seduction tactics used in the 21st century.
The overall gist of "To His Coy Mistress" is established in the opening stanza of the poem. It describes a sceneario where a girl has the option to either give in to the young persuaders sexua...
Love in To His Coy Mistress and Remember On first outlook it would be to His Coy Mistress and remember both. share the topic of love. They seem to be of direct relevance to each. other, whereas upon closer inspection, To His Coy Mistress does not.
In the case of To His Coy Mistress by Andrew Marvall, a not-so-gentle gentleman is trying to woo a “coy” young lady with claims of love. This poem is strewn with hyperbole to the point that it becomes exactly the opposite of love. When there is such over exaggerated praise, it starts to lose the real meaning of the message. If you take a look at lines 13-18, you can see the obvious amplification:
“To the Virgins, to Make Much of Time” by Rober Herrick and Andrew Marvell’s “To His Coy Mistress” have many similarities and differences. The tone of the speakers, the audience each poem is directed to, and the theme make up some of the literary elements that help fit this description.
Ruined Maid and To His Coy Mistress Both the “Ruined Maid” and “To His Coy Mistress” provide us with disturbing images / pictures of love, sex and relationships as I am about to explain. The “Ruined Maid” was written by Thomas Hardy in 1866, during the time when women didn’t have sex before marriage and they were thrown out of their village for being “ruined”. The public at that point in history had a very strict view of sex and marriage. They thought that women in particular should never have sex before marriage and they should have everything taken off them for being “ruined”.
There is a similar theme running through both of the poems, in which both mistresses are refusing to partake in sexual intercourse with both of the poets. The way in which both poets present their argument is quite different as Marvell is writing from a perspective from which he is depicting his mistress as being 'coy', and essentially, mean, in refusing him sex, and Donne is comparing the blood lost by a flea bite to the blood that would be united during sex. Marvell immediately makes clear his thoughts in the poem when he says, "Had we but world enough, and time/ This coyness, Lady were no crime", he is conveying the 'carpe diem' idea that there is not enough time for her to be 'coy' and refuse him sexual intercourse and he justifies this thought when he suggests when she is dead, in ?thy marble vault?, and ?worms shall try that long preserved virginity?. He is using the idea of worms crawling all over and in her corpse as a way of saying that the worms are going to take her virginity if she waits until death. Donne justifies his bid for her virginity in a much longer and more methodical way, he uses the idea of the flea taking her blood and mixing it with his, ?It suck?d me first, and now sucks thee?, and then...
The narrator in The Flea is a youthful man trying to convince a young woman to give her virginity to him. He tries to do this by comparing their relationship to a flea that is in the room. The flea bites them both and Donne explains to her that this is symbolic of both of their worlds combining into one. He says that the flea is now the realm of love, lust, and marriage. At first this poem seems to be just about love, commitment from a male to a female, who says no his lustful desires. However, a deeper look than just the superficial reveals that the male in this poem is actually revealing a valid point to his lady: that the loss of innocence, such as her virginity, does not constitute a loss of her honor.
John Donne, an English poet and clergyman, was one of the greatest metaphysical poets. His poetry was marked by conceits and lush imagery. The Flea is an excellent example of how he was able to establish a parallel between two very different things. In this poem, the speaker tries to seduce a young woman by comparing the consequences of their lovemaking with those of an insignificant fleabite. He uses the flea as an argument to illustrate that the physical relationship he desires is not in itself a significant event, because a similar union has already taken place within the flea. However, if we look beneath the surface level of the poem, Donne uses the presence of the flea as a comparison to the presence of a baby, thus making the sub textual plot about aborting the baby.
In the poem “To His Coy Mistress”, the speaker is trying to seduce his wife. In the assumption the mistress is his wife; she is being bashful towards losing her virginity. The speaker, which is the mistress’s husband, develops a carefully constructed argument where the speaker seeks to persuade his lady to surrender her virginity to him.
The two poems The Flea and The Sunne Rising capture John Donne’s primary motive to get in bed with women. Donne wrote these poems at an early age, and at that time he was seeking nothing more than a sexual relationship. His poetry depicted clearly how sexist he was at the time and how he used to perceive women as a medium of pleasure. The content of his early poems express an immature and desperate image of Donne, who is dominated by his fixation on the sensuality of women. In The Flea, Donne shows his desperation to have sex by addressing a flea that has sucked the blood of both him and the woman he is persuading. It is quite awkward how the poet uses this obscure image of the flea as a symbol of love and sex to convince the woman that...
Structure, a major tool stressed in this poem, tends to rearrange the text in a large-scale way. In "To His Coy Mistress", the reader should focus on the most significant types of structure: stanza and temporal. In other words, time and chronological order assemble the whole meaning of the text throughout the poem. Although the story contains seduction and intimacy, which is portrayed in the title alone, it is merely a cry for two lovers to be together before time runs out. Temporally, the man first explains to the woman how he would love her if he only had the time. The man's sincerity is truly expressed when Marvell writes, "Had we but world enough, and time...I would love you ten years before the flood...nor would I love at lower rate," (373: 1, 7-8, 20). It seems that the man genuinely cares for the lady, or is he secretly seducing her into bed? Taking a look at the second stanza...