There are no limitations in his first attempt at persuasion “vaster than empires and more slow”. The imagery used of adoring of her eyes and breasts, the passing of their “long loves day” and her “deserving” of this love are purely to convincingly permit her to see him as a gentleman, sincere in his affection. The author then turns into his second argument or tactic of urging that is less “genteel”(Evans) and “more graphic”(Evans), as he seems to become increasingly desperate. In the second stanza he is using fear, almost threatening her, as he portrays what would happen if they allowed time to run out. He warns “her beauty shall no more be found” and alludes to her dying a virgin.
The third Stanza the speaker brings the woman back from the imaginative dead, and explains to her that she must seize the opportunity since she is youthful. In “To His Coy Mistress,” the persona speaks of his high libido and the theme of Carpe Diem in which the “Coy Mistress” should go to bed with him and seize the day. At first the speaker uses a hyperbole when he tells the woman that he would love her until Armageddon when he states, “I would/ Love you ten years before the flood/ and you should, if you please, refuse/ Till the conversion of the Jews” (Marvell lines 7-10). This shows he is patient and will wait for her to give into his sexual desires. He exaggerates when he explains to her that he has until the end of time for the woman to make her decision.
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.
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.
. . [H]eld to his burning bosom her half-yielding, half-reluctant body, nor suffered her to get loose, till he had ravaged all, and glutted each rapacious sense with the sweet beauties of the pretty Celia.” That is, by using the phrases ‘burst out’ and ‘half-yielding, half-reluctant’, Beauplaisir appears to be the one who chose to have sex with her. But once again, this is just an example of her bending his wishes to match hers. He thinks he’s romancing some new girl, when he’s actually with the girl who he had just abandoned- he is given the sense of choice to please his desires, but really, she made the choice for him.
Love in To His Coy Mistress and Remember On first outlook it would that 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 attempt to express any emotion at all. Instead, THCM is ultimately physical and portrays a man’s desperation and lust, The persona of THCM has written this poem as a persuasion technique, with the addressee being his current girlfriend while the speaker from Remember appears to be leaving a message to her soul-mate. The two poems both mention a lot about time, although in different tenses. THCM makes an abundance of references of the present tense such as “…Now, therefore, while the youthful hue…” and “Now let us sport us while we may”, whilst Remember talks about the future and what is yet to come.
Placebo and Justinus After discussing the dangers and advantages of marrying young women, January asks friends for advice. Placebo [Latin, "I will please"] flatters him, telling him he is right to marry a young woman. Justinus [L. "just one"] warns him of the dangers he risks and counsels him not to marry, based on his own experience as a married man. January does what he wants, in the end, and suffers for it. Their speeches are almost a little play about bad and good advice.
In this essay I will compare two poems: “To His Coy Mistress” by Andrew Marvell and “The Ruined Maid” by Thomas Hardy. I will look at the style and the tones that are used in both of these poems in order to compare them. “To His Coy Mistress” is one-way argumentative conversation featuring one horny young man trying to convince his reluctant mistress to give up her virginity to him before she gets old. He uses the argument that she needs to have sex now because her youth and beauty will fade as she ages. He thinks they should seize the moment because life is short and she would not want to die a virgin, and he will not want her when she gets old.
He tries to pull some reverse psychology here to make her think that it is her fault for not having sex with him (against her will). He goes on to say that he would indeed love her "Till the conversion of the Jews," (10) ithere were time enough, but the narrator never directly says "forever." Instead he uses phrases that conjure images of eternity: "ten years before the Flood(8); "An age to every part"(17). His descriptive use of imagery makes forever seem an overused word that does not fully encapsulate the time he would spend waiting for her. "But" makes the transition from eternity to the present.
He is harsh to his love, who he calls a mistress. However, at the end of the sonnet, he is admires and accepts her, ‘and yet, by heaven, I think my love as rare as any she belied with false compare’ (Lawall & Maynard 1676). Petrarch sonnet if more complex, it is fond and even slightly defiant, ‘you say she is not so today? Well, though the bow’s unbent, the wound bleeds on’ (Lawall & Maynard 1676). He accepts that she is not what she used to be but he still loves her.