Compare how the poets present emotions in the poems In Paris With You and Ghazal

In Ballou’s written he wrote “Sarah, my love for you is deathless” and in Lovelace’s he described his love for Lucusta in the ballad by writing “I could not love thee (Dear) so much, Lov’d I not Honour more”. The main similarities in the theme of the works of literature are that they are goodbye letters and to show their forever indwelling love to them.

The poem’s structure as a sonnet allows the speaker’s feelings of distrust and heartache to gradually manifest themselves as the poem’s plot progresses. Each quatrain develops and intensifies the speaker’s misery, giving the reader a deeper insight into his convoluted emotions. In the first quatrain, the speaker advises his former partner to not be surprised when she “see[s] him holding [his] louring head so low” (2). His refusal to look at her not only highlights his unhappiness but also establishes the gloomy tone of the poem. The speaker then uses the second and third quatrains to justify his remoteness; he explains how he feels betrayed by her and reveals how his distrust has led him

Gascoigne follows an English sonnet form that is iambic pentameter. The iambic pentameter makes the poem sound conversational, serious, and strong which is significant because the speaker is having to stay strong to resist getting hurt by the girl he loves again. The English sonnet form allows the reader to understand all the pain that the speaker has endured quatrain by quatrain. Each one

In today’s modern view, poetry has become more than just paragraphs that rhyme at the end of each sentence. If the reader has an open mind and the ability to read in between the lines, they discover more than they have bargained for. Some poems might have stories of suffering or abuse, while others contain happy times and great joy. Regardless of what the poems contains, all poems display an expression. That very moment when the writer begins his mental journey with that pen and paper is where all feelings are let out. As poetry is continues to be written, the reader begins to see patterns within each poem. On the other hand, poems have nothing at all in common with one another. A good example of this is in two poems by a famous writer by

The structure and tone of the poem enhance the conflict and hopelessness the speaker is feeling towards the woman he loves and desires. For the first twelve lines of the poem there is an “abab” rhyming pattern. This ties into the despairing and desirable tone and how the rhyming scheme can be an example of the speaker constantly going back and forth between emotions for this women. For example, “And that mine eyes take no delight to range About the gleams which on your face do grow.” (Gascoigne 3-4) are two phrases that contradict the speakers feelings. Stating that his eyes take no delight in range can refer to the speaker finding no use or happiness in looking at the woman. Although, he then mentions the gleams upon her face growing, giving the audience the idea that even though the speakers love for the woman causes him deep despair, he still desires her enough to describe her features in attentive detail; in this example the gleams on her face. This shows the back and forth pattern and the speakers struggle when it comes

A poem is a piece of writing that partakes of the nature of both speech and song that is nearly always rhythmical, usually metaphorical, and that often exhibits such formal elements as meter, rhyme, and stanza structure. In her poem, “Variations of the Word ‘“love”’,” Margaret Atwood introduces to her audience the word “love” from many different perspectives. Google defines “love” as “an intense feeling of deep affection”, or “having a deep feeling or sexual attachment to (someone).” But “love” is not something that can easily be described. Atwood goes on to present and portray the word through different illustrations, beginning with cliché examples and ending with her own personal scenarios. The author’s tone and metaphorical language effectively conveys her perspective of “love”.

Both poems, Sonnet 43 and Ghazal convey emotions and passionate feelings of love in different ways. Sonnets and Ghazals are poem that are meant to express strong feelings of love. Khalvati and Barrett Browning chose them to illustrate their loving feelings to their lovers. Barrett Browning does not correctly carry out all the rules of Sonnets in her poem which gives an effect that she would do anything for her lover and that there are no rules to their love, whereas Khalvati does not break any of rules in Ghazal, this might, perhaps mean that her love is unrequited and that she would follow all the rules to get the attention of the person she loves.

“La Belle Dame sans Merci” takes on a different view of the theme of love. This poem is broken down into three parts. In the first part of the poem, the speaker appears to be some unknown person who asks a lonely,

First of all, based on both poems, the attitude of the poets is influenced by the diction of the poems as well as tone and mood.

On the surface the poem appears to be somewhat sweet. It gives you the idea that two fine young people had just made love, and the speaker is observing the beauty in the messiness of dress. The entity of a woman who is “A winning wave, deserving note” that is delicately clothed had seduced him, or rather, “bewitch,” hinting that he was lured or tricked into it. There are several anomalies of words that stick out to me throughout the short, seemingly sweet poem. Words scattered all throughout the sweetness of the lines that hint the small bursts of turmoil the speaker may be going through. These corresponding words include “disorder…distraction…erring… enthralls… confusedly… careless… bewitch.” Why would he be going through such turmoil? It may be because this act of ‘making love’ was not so much based on true love, but more so on material qualities.

A more disturbing perspective that the poem can take on is that the speaker wants to be the slave to this woman he admires. As mentioned before, the speaker considers the girl as a confidante, but then follows on to say that he wants to undress and take her virginity. “O she’ll give pleasure! in future, no grown man will deny it! But tonight, to me, this chaste girl bares unthinking the delicate blush/Of a most secret landscape, her woman’s body” (9-14). These lines also gave me pedophilic vibes because he calls the female figure “a girl” and it was interesting

The poem is written in free verse. Its structure is similar to Mean Time as they are both arranged in four stanzas of equal length, which suggests some control in its speaker, undermining the madness the character is known for, which is one of the points of the poem. They both also share the same overriding emotion of loss of love and how it’s dominated their life. However

Not only do these poems share differences through the speakers childhood, but also through the tones of the works.

The poem “How Do I Love Thee”, by Elizabeth Barrett Browning, and “What Lips My Lips Have Kissed”, by Edna Vincent Millay are both well-known poems that both have themes of love. (LIT, Kirszner & Mandell, Pg. 490). In both poems the poet helps the reader experience a lot of emotion with the use of certain words. There are speakers in both poems. In Mrs. Browning’s poem, the speaker is undefined, leaving open that the speaker could be a he or she. Millay’s poem which is written in first person, the speaker is more defined leading the reader to believe it is a she who is talking about love in the past tense. Both poems are sonnets written with fourteen lines, and written in Italian style. When comparing these poems we will be looking at the use of rhyme scheme and metaphors and how they were used to express emotions in these two sonnet poems.

The couplet of this sonnet renews the speaker's wish for their love, urging her to "love well" which he must soon leave. But after the third quatrain, the speaker applauds his lover for having courage and adoration to remain faithful to him. The rhyme couplet suggests the unconditional love between the speaker and his