For That He Looked Not Upon Her By Georgia Gascoigne

In For That He Looked Not upon Her, George Gascoigne uses several literary devices to bring his poem together in a way that makes the point of it clear. He also uses these devices to show the deeper meaning behind his words. Of many, three of the devices used prominently throughout his work is form, diction, and imagery. All pulled together the author is able to clearly portray a betrayed tone towards the subject of the poem.

The author of “For That He Looked Not Upon Her” uses several literary techniques such as form, imagery, and diction that develop the complex attitude of the poem. The situation of this poem is a couple having problems that causes them to question their relationship. The further we read into the poem the more we learn of the fear and doubt between the two individuals. The authors use of melancholy diction contributes to the tone and the complex attitude of the poem. The complex attitude of the poem is lack of trust that the couple has in their relationship. The man loves his partner even though she has hurt him. He is confused and unsure of whether or not he should continue

George Gascoigne’s poem “For That He Looked Not upon Her” discusses the misery of love by exploring speaker’s internal conflict between the his romantic desires and his fear of betrayal. After leaving a difficult relationship, the speaker refuses to look his former partner in the eye even though he is still deeply attracted to her. He justifies his action by explaining how his desire for her will only continue to bring him distress. The speaker uses the poem’s form and diction in order to establish a dismal yet cautious tone in the poem. Furthermore, through various instances of imagery, he reveals his fear of being deceived in the future. By employing these literary devices, Gascoigne highlights the theme of human desire and how it consequently leads to the speaker’s emotional suffering.

In George Gascoigne’s “For That He Looked Not upon Her”, the English poet emphasizes in his poem using a variety of intense images and diction to show that he can’t look at the one he loves. He structures his poem to have a rhyme scheme, so he can show readers the emotional experience he had with his problems and express it throughout the poem.

Human emotions, such as duplicity, are portrayed in literature in vast ways throughout time, where almost all of society experience the same feelings in different ways. In the poem "For That He Looked Not upon Her," written by George Gascoigne, an experience of human emotion is told from the perspective of a man who speaks about a woman he previously loved. The narrator then continues to discuss why he can no longer look at her despite his love for her, which are portrayed through irony, metaphorical imagery, and diction throughout the poem. From these elements, the speaker's attitude changes through the course of the poem from the problem presented to the resolution to mirror his thoughts of betrayal and desire.

In George Gascoigne’s sixteenth century poem, “For That He Looked Not upon Her” his speaker is overwhelmed with sorrow when he comes across the face of the woman he used to love. Gascoigne develops his speaker’s complex attitude through literary devices such as the English sonnet, diction, and visual imagery. As each quatrain passes the reader can sympathize with this speaker as he tries to shelter himself from his continuous pain. George Gascoigne’s poem “

Love can be quite a difficult topic to write about, expressing one’s intimate and innermost emotions requires a great level of dedication and honesty. If done correctly, the outcome is truly stunning. John Donne’s “A Valediction: Forbidding Mourning” and Katherine Philips’s “To Mrs. M.A. at Parting” are two masterpieces of this genre. These poems depict the concept of true love so meticulously that the reader cannot help but envy the relationships presented. Perhaps the reason that these works are so effective is due to the fact that they are incredibly similar to each other. Although some differences are present when it comes to structure and gender concerns, the poems share the same theme of love on a spiritual level and show many parallels in meaning.

Edna St. Vincent Millay’s “Sonnet IV” follows many of the conventions of the traditional Petrarchan sonnet. It follows the traditional rhyming scheme and octet, sestet structure. However it challenges the conventions of the typical subject of the Italian sonnet, unrequited love. In the octet at the beginning of the poem Millay uses images that give a sense of transience and in the ending sestet of the sonnet she contrasts the sense of impermanence given earlier with the idea that the speaker cannot forget the smiles and words of their ex-lover. This contrast between permanence and transience illustrates Millay’s interest in a fugacious relationship with everlasting memories. After further analysis of Millay’s highly structured rhyming scheme which puts emphasis on the last words of each line. She uses these words to further express her interest in exploring impermanent relationships by using words that are associated with an end or death.

Edna St. Vincent Millay invokes a deep tone of regret between a couple of past lovers in two penitent poems; however, the poems deviate from each other in regards to the tones the speakers use to convey their repentance. The speaker’s tone in “I Think I Should Have Loved You Presently” can be seen as lustful while the speaker in “Time Does Not Bring Relief; You All Have Lied” has a frustrated tone.

Since the early sixteenth century, elegies and grief themed poems have developed substantially. William Lisle Bowles’ “Time and Grief” and James Montgomery’s “A Poor Wayfaring Man Of Grief” from the Augustan Era, Paul Laurence Dunbar’s “Love and Grief” and George Meredith’s “The Lesson Of Grief” from the Victorian Era and Charles Bukowski’s “Consummation of Grief” and Thomas Hardy’s “How Great My Grief” from the Modern Era have changed the idea of grief from something that was feared into something that is better understood. As the length of the poems began to decrease, the tone of the poems became less depressing and more insightful, and historical eras and expectations, changed the ideas of grief in the real world was understood better which made it something that

"Gander" is a male goose while the female is referred to simply as "goose." Why Roethke choose geese as a comparison to these lovers is not clear. The "full lips" of the stanza 's second line provide succulent imagery that distracts the speaker and pulls him in. The musical references of the earlier "sing in chorus" may be reinforced by "played," "quick," "light," and "loose," but those words are not restricted to a single area of meaning. The final four lines of this stanza are heavy with sexual imagery. The speaker describes the woman as an instructress skilled in the art of lovemaking, blessed with beautiful legs, and rabbit-like in her enthusiasm and other "-asms." The line in parentheses refers to her motion during intercourse. "She moved in circles, and those circles," another reference to her breasts, "moved."

The poem, “For That He Looked Not upon Her” by George Gascoigne exemplifies how the speaker suffered from love, something that many people believe one should feel positive about. The title delivers a despairing tone by allowing the audience to believe that the speaker can no longer look the woman he loved in the eye. Conflicting with the despairing tone, the speaker develops a complex attitude with the use of structure, metaphors, diction, and desire.

Nayla Windham Mrs. Leah Armstrong English 102, Section 3 1 April 2015 Dangerously in Love In Anthony Hamilton’s song “Love is so Complicated,” he sings, “ Love is complicated, the way I feel about you make me wanna change my attitude.” Obsessive love can lead to many dangerous consequences in a relationship. Browning and Marvell both examine dark love in their poems. Both poets want their mistress to commit to them so they can have control over them.

This essay will discuss a selection of poems taken from Christine de Pizan’s Cent Balades, published at the end of the fourteenth century, and a number of sonnets by Louise Labé, whose Œuvres were printed in 1555. Love and desire are the prevalent themes in the work of both of these poets. Since definitions of love vary so greatly, the terms ‘love’ and ‘desire’ will be used interchangeably in this essay to refer to love expressed as desire. The poems discussed here all depict the individual experience of desire, the discourse of which is shaped in various ways; it might focus on the subject’s grief at the loss or lack of the object of desire, express the suffering which comes as the result of love or desire, or depict the fantasy of a successful union in which the object of desire is attained, the aim of which could be deemed to be the alleviation of pain.

The historical importance of poetry lives today. In essence, writers have used poems to achieve different purposes and for self-expression. The composition of a poem usually follows the author’s circumstances, attitude, and how the author feels. Such is the case in two major poems discussed in this essay. The poems are: “The Ballad of Reading Gaol” and “The Rime of the Ancient Mariner.” Therefore, this essay analyzes and compares the two texts in relation to Romanticists’ and Modernists’ literary and aesthetic traditions. Put simply, the two poems concern ways in which one’s past influences life in the present. There is a focus on whether a person regrets bad actions of the past or not. Besides, the authors demonstrate the need to understand one’s mistakes and help others not to engage in the same. Most significant to note is that both poems belong to the Romanticist era.