Explication: Magic of Love vs. Love Poem “Love Poem” is a twenty-four-line poem in six stanzas. The generic tittle is an accurate description of the poem; it is a clue that this may not be a traditional example of love poetry. Both poems have the same rhyme scheme because the second and fourth line of every stanza rhyme. However, “Magic of Love’ speaks of a general love bringing happiness, joy and comfort. While “Love Poem” is much more personal. The speaker talks of memories with his clumsy love. Both poems have a different point of view when it comes to love. In Ferrier’s poem, she describes love as something perfect, that fixes everything. However, in Frederick’s poem, he doesn’t speak about what the love does right but rather he talks …show more content…
“Magic of Love” by Helen Ferries is a greeting card that relies on clichés. On the other hand, “Love Poem” by John Frederick Nims written in 1947 is a poetry that transfigures and expresses an emotion through an original use of language.
The poem by Helen Ferries expresses what love can bring. In the first stanza Helen use the personification “there’s a wonderful gift that can give you a lift”, giving love human-like characteristics. Meaning that love can make you feel light and happy. She uses the cliché “it’s a blessing from heaven above” to anesthetizes readers instead of alerting them. Helen refer that love is something that is sacred and one should hold on to it and never let it go. To me it also means that God sent the right person that you were made for to you. Ferries compares love to a star because stars most of the time are drawn in a yellowish color. Yellow is the color of the sun which makes the reader believe that love gives you that warmth feeling of everything being okay. In the second stanza she uses a simile, “like a star in the
…show more content…
In “Love Poem” Nim uses a metaphor in the first stanza to emphasize his love clumsiness. Frederick says “whose hands shipwreck vases” describing his love as a clumsy and destructive woman. This metaphor specifically compares his love’s hands to shipwreck vases suggesting that her hands are as destructive as storms are to ships. This metaphor can be also classified as a hyperbole. The breaking of a vase is not normally something you would refer to with the term “shipwreck” but this phrase exaggerates the image of the poem. Line two to four are examples of hyperbole. Farris uses imagery in stanza three to portray the speaker’s affection for his “unpredictable dear.” He uses alliteration in this stanza when he says “taxi drivers’ terror” to emphasize the chaos she causes on the road. The poet appears amused by her inconsistency when driving. This can be seen through the contrast he makes between her “shrinking” from traffic one minute and then “leaping” the next. Nims uses this alliteration and imagery to exaggerate his love flaws. Furthermore, more in stanza five Frederick uses personification when he says “your lipstick grinning on your coat” emphasizes her clumsiness. In the second stanza the persona contrasts this clumsiness with objects to her skills in dealing with people. In the last two line of the last stanza the tone changes entirely. No matter how clumsy
These poems have quite a few similarities, as well as their differences. Mariam Waddington’s, “Thou Didst Say Me,” displays love being overly joyous but also heart-breaking and despondent. On the other hand Alfred Tennyson’s, “Now Sleeps the Crimson Petal,” depicts a sugary love story all calm and beautiful. Both offered their end of the bargain: conflicting sentiments toward love relations to the table and ultimately delivering a unique testimony about the subject of, love. And as always love may have its golden tragedies but one always has a hold of their own feelings of love.
The first six lines of the poem highlight the incompetence of love when compared to the basic supplies for life. Love is not all: it is not meat nor drink Nor slumber nor a roof against the rain; Nor yet a floating spar to men that sink And rise and sink and rise and sink again Love can not fill the thickened lung with breath, Nor clean the blood, nor set the fractured bone; It is quite obvious that the narrator highlights everything that requires living in line 1 through 6. Line 1 depicts the deficiency of love as a thing that is not able to provide food as compared to “meat” (1): love cannot hydrate a man as signified by “drink” (1): love cannot refresh a man as signified by “slumber” (2): it does not offer shelter as signified by “a roof against the rain” (2): love cannot give a preserving “floating spar” to a man who is in peril (3): nor will love give air to a “thickened lung” (5): love cannot “set the fractured bone” (6). The narrator describes love as a worthless element in the first 6 lines, but line 7 and line 8 express a tremendous level of violence that people are willing to commit because of the lack of love: “ Yet many a man is making friends with death / Even as I speak, for lack of love alone” (7-8). Line 7 and line 8 is an evidence to prove that no matter what the poet says about love, people are willing to die for it because it is important.
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.
The diction of this poem influences the imagery with the tone of the words . They are used to convey the message of how it feels to not feel the spark of love
These two poems are meant to be a love letters written by a man to a
It is said that Millay's later work is more of a mirror image of her life. This particular poem was written 1931, when she was thirty-nine. Unlike some of her earlier work this is not a humorous poem. It is very deep and meaningful.
Women in classical Egyptian, Indian, and Persian literature are depicted as being more than just one dimensional figures. They are displayed as living beings, capable of emotion and exercising power amongst men. Ancient history has shown that in places such as Egypt, woman had equal rights alongside men, in regards to legal and economic rights. At the time, rights were based on economic class and not gender. By having a rights system that mimicked that of men’s rights, Egyptian women were able to show their multi-dimensionality. This multi-dimensionality was best portrayed in love poems such as “The Beginning of the Song that Diverts the Heart,” “I passed close by his house,” and ancient Egyptian literary artifacts, involving stele’s of Ahhotep
Relationships between two people can have a strong bond and through poetry can have an everlasting life. The relationship can be between a mother and a child, a man and a woman, or of one person reaching out to their love. No matter what kind of relationship there is, the bond between the two people is shown through literary devices to enhance the romantic impression upon the reader. Through Dudley Randall’s “Ballad of Birmingham,” Ben Jonson’s “To Celia,” and William Shakespeare’s “Shall I Compare Thee to a Summer’s Day?” relationships are viewed as a powerful bond, an everlasting love, and even a romantic hymn.
The poem's diction immerses the reader into the speaker's fantasy-like realm of love shared with his bride. He begins the poem with the first two lines, "It was many and many a year ago, / In a kingdom by the sea," much like the "once upon a time, in a faraway land" of fairytales. The couple lived with no other thought than to love one another and "loved with a love that was more than love" (9).
There are many different themes that can be used to make a poem both successful and memorable. Such is that of the universal theme of love. This theme can be developed throughout a poem through an authors use of form and content. “She Walks in Beauty,” by George Gordon, Lord Byron, is a poem that contains an intriguing form with captivating content. Lord Byron, a nineteenth-century poet, writes this poem through the use of similes and metaphors to describe a beautiful woman. His patterns and rhyme scheme enthrall the reader into the poem. Another poem with the theme of love is John Keats' “La Belle Dame sans Merci,” meaning “the beautiful lady without mercy.” Keats, another nineteenth-century writer, uses progression and compelling language throughout this poem to engage the reader. While both of these poems revolve around the theme of love, they are incongruous to each other in many ways.
To what extent does the presence of nature impact the poems in “twenty love poems and a song of despair”
There is also a standard structure in this poem, with the second and last line of each stanza shorter than the other two. It uses half-rhyme, creating an "a, b, a, b" rhyme scheme which adds speed to the entire poem. This, in turn, re-emphasises the fact that time is ticking away and we need to make the best out of our youth and regret not in the future. I find this second poem easier to grasp, mainly due to the references and comparisons to tangible things. I guess the subject matter also appeals more to me, as the subject matter in "Song" gives me an impression that from the physical love he is looking for in the girl, he is not serious about her. As for "To the Virgins, to Make Much of Time", it is purer, warning readers to be more careful in what one does with his youth.
Both, the poem “Reluctance” by Robert Frost and “Time Does Not Bring Relief” by Edna St. Vincent Millay, revolved around the theme of lost love. Each poet used a similar array of poetic devices to express this theme. Visual imagery was one of the illustrative poetic devices used in the compositions. Another poetic device incorporated by both poets in order to convey the mood of the poems was personification. And by the same token, metaphors were also used to help express the gist of both poems. Ergo, similar poetic devices were used in both poems to communicate the theme of grieving the loss of a loved one.
The types of love in a poem can be reflected in many ways. One of
Will's beloved is "more lovely and more temperate (18.2)" than a summer's day; "the tenth Muse (38.9);" "'Fair,' 'kind,' and 'true' (105.9);" the sun that shines "with all triumphant splendor (33.10)." We've heard all this before. This idealization of the loved one is perhaps the most common, traditional feature of love poetry. Taken to its logical conclusion, however, idealized love has some surprising implications.