Sixth Epigrams Essay

Stanza three opens with relating “menthol” and “eggshell” (9). Other than what “menthol” actually is, the reader is obligated to figure out its characteristics (9). I would say its traits are minty and fresh. And how would one define “eggshell” (9)? What’s leftover? This could easily be an argument stating that he is original and new, while she is always a little more bland and derivative. The next sentence states that while the bride is “atrocious”, he is equivalent to “spellcheck” (10). This is a statement that means that whenever

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

In On the First Soliloquy Stanley Wells’ discusses how powerful Shakespeare wrote the play and character Hamlet. Wells’ starts out by discussing how every actor and even actresses enjoy performing the role of Hamlet. He states, “The performer has the opportunity to demonstrate a wide range of ability.” (Brinkley 985). The character Hamlet goes through many emotions throughout the play which is why there is such a “wide range of ability” and actor can show when playing the character. It is through the many soliloquies throughout the play that Hamlet releases his emotions. Wells’ claims that Shakespeare’s play’s use of soliloquies “is one of the most brilliant features”, but the challenge they propose is “How to let Hamlet reveal himself without

Imagery plays an imperative role in creating emotional duality throughout the text. The reader is presented to the narrator being called upon by the Queen. When the narrator looks behind, “[the Queen’s] expression, at first quizzical, now turned joyous, showing brilliant white and perfect teeth” (lines 3-4). Verghese’s use of imagery through this line magnificently illustrates the Queen’s enthusiasm to see who she has called upon. At first, the quizzical countenance of the Queen’s face arouses misperception in the reader, questioning why she is puzzled to lay eyes on the narrator, but soon resolved when her expression turns joyous. The joyous mood created through this line is epitomized through the dazzling imagery as she shows her brilliant white and perfect teeth through her smile. Soon after, the narrator ascertains the Queen as Tsige, as he “towered over her…tongue-tied” (line 9). The use of the idiom, tongue-tied illustrates to the reader

Inner conflicts often dictate what the narrator wants, but cannot have, which creates the overall attitude of the poem. The narrator struggles to look at this woman because his "eyes take no delight to range/ about the gleam which on your face do grow" (3-4). He is not able to look at her even though she is beautiful due to the heartbreak that she left him with. This attitude carries on throughout the poem where he acknowledges her beauty but is unwilling to be hurt by her again. He is in agony from the emotions that she inflicts, and the readers see his mental process of working through it as he comes to the conclusion that he will "wink or else hold down my head" because it is her eyes that cause his "bale" (14-15). His attitude changes from being at war with his inner feelings to being accepted to the fact that if he looks at her he will be in danger of being hurt a second time. The irony being applied shows how his conflicted attitude is made clear by acknowledging that he will not give in to his desire despite what his repressed emotions are saying. Irony can be highly influential in discovering the narrator's hidden agenda and purposes, and the words chosen to reveal these purposes have an impact on the overall attitude of a piece of

In ‘To His Coy Mistress’ the speaker carefully constructs a subtle and logical argument as to why his addressee should sexually unite with him. The speaker attempts this proposition through finesse in manipulating reason, form and imagery. The reasoning employed would be familiar to a reader educated in Renaissance England, as it is reminiscent of classical philosophical logic, entailing a statement, a counter-statement and a resolution. In line with this method Marvell’s speaker codes his argument in classical imagery. To understand this argument I will be approaching the poem in three clearly defined sections, which are denoted in the poem with indented lines.

Spenser initiates his pastoral in the month of January with an eclogue that asks the reader to bend their notions of normative “masculine” traits through Colin Clout when he says, “enamoured of a countrie lasse called Rosalinde...” and so wrought over her he is not only “robbed of all former pleasaunce,” but “breaketh his Pipe in peeces, and casteth him selfe to the ground.” In an epoch where men stereotypically portray women as the “emotional” gender and marriage as a means of sociopolitical advantage, the reader is thrust into a lonely winter’s day and, through a dramatic monologue, gives issuance to overhear a young shepherd boy in the pangs of love. Additionally, although the general connotation of the breaking of his pipe is seen as the

Chicago has not, and no doubt never will be misplaced. Human society will always enlightenment teachers; some of intercessions and others for a accumulation. a lack of Windy City lies in the field of literature but also the field of philosophy. Teachers is the most prototypically collaborating commencement of mankind.

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

“But…cruel with her, too, even death would not oblige her” She finds discomfort in the idea that she is spared through winter when the earth appears dead, and killed when earth is at its beginning of the seasons or ‘when all earth is born anew’. This stanza brings attention to how the seasons are changing and everything that is dead is coming alive again while her life does the opposite. This discomfort lies in life’s lack of accommodation when letting her live through the unpleasant and taking her life when the tables turn. Comparing this translation to S. Griswold Morley’s description in The ailing woman felt her forces ebb, Morley’s description lies hand in hand with the focus points of Kate Flore’s translation. However, Morley’s word choice and description is more precise when portraying how robbed the woman must feel. “The earth was being born in blossoming, slew her by inches to the joyous hymns of fair and merry spring!” (Line 11-13) By focusing on the phrase ‘ slew her by inches’ the reader is aware of the fact that she would be so close to enjoying the ‘joyous hymns of fair and merry spring’. Therefore clarifying how one could feel content with death but upset about the timing. Also, the choice of the word ‘ blossoming’ gave a more descriptive approach, which created a better picture in the

Next, the speaker states “We passed the Fields of Gazing Grain--/Or rather--He passed Us--.” The speaker is aware now that she is leaving her world, the earth, to company Death in his world. Also, the speaker says “The Dews drew quivering and chill--/For only Gossamer, my

Shakespeare’s work is among the hardest to read because of its supposed complexity and sophistication. The language used in the Early Modern Era is different than that of the Post Modern Era. Audiences that saw the performances were aural learners and were able to pinpoint certain tones and facial expressions that readers may not detect through words. Watching the plays performed provided better feedback than readings do (Palfrey 10-11). Metaphors, implicit or explicit, are figures of speech that help compare two unlike things and are not designed for literal intake. Yet, with Shakespeare’s work, metaphors should be taken literally. According to George Lakoff and Mark Johnson, however, this technique of comparison allows metaphors to simultaneously highlight and hide certain attributes and/or qualities about the thing(s) being compared to (12-13). The highlighting and hiding of metaphors gives readers more insight into what Shakespeare may have meant at the time or even more so in what context did the people of the Elizabethan Age use language (Palfrey 11). Two important components of metaphors that do the highlighting and hiding are the vehicle and the tenor; each can be implicit or explicit as well. The metaphor in question emphasizes both the importance and unimportance of Lavinia’s character.

This of course scandalized the Clerk- he was unworldly and an ascetic, he “looked holwe and therto sobrely”, and thus he becomes the mantle of a corrector of false views about love and matrimony after the Friar and Summoner and gives a view of love as pure and sacrificial, with Griselda as the epitome of patience and ungrudging obedience. By use of the same term, ‘Boweth your nekke under that blisful yok of soveraynetee’, clearly the Clerk, through his tale, is answering the Wife of Bath, through a character who was the exact antithesis of hers. The Merchant, coming after the Clerk, upsets the balance again, painting a cynical view of love in contrast, and once again continues the love debate in his own fashion and pattern (“And let him care and wepe and wringe and waile”- “Weping and wayling, care and other sorwe”). The Host then once again comes interrupts, and requests to turn the debate away from marriage to love “Squier, set somewhat of love”, where pure romance, in the medieval sense is now introduced, reminding us of the beginning of the Knight’s tale, and illustrating the charm of a variety of tales depicting the various illustrations of love. However, Chaucer’s plan in this Act is not yet finished- there is still the gap of the relations between husband and wife, a certain superficiality of love not yet mentioned, the love

In Edmund Spenser’s epic poem, The Farrie Queene, Spenser utilizes the strategy of incorporating many subplots and characters to emphasize allegorical concepts; especially, themes concerning the gender roles of women. Characters such as Florimell, Britomart, Malecasta, and Belphoebe, create a spectrum that contains different types of chastity that is seen among women. For instance, Florimell’s chastity depicts a beautiful woman who is committed to her virtue of chastity; however, because of her beauty, Florimell induces lust within men and constantly has her virtue being challenged and threatened. In contrast to Florimell, the protagonist of Spenser’s poem, Britomart, consists of a chastity that is more Christian oriented, yet it is a very immature chastity but ultimately, it is Britomart’s chastity that makes her stronger and even at times, weaker. Postulating these characters, Spenser can illustrate the different degrees and allegories of chastity.

The poem, what guile is this, that those her golden tresses by Edmund Spenser is a fascinating poem describing the dynamics of desire that surround men and women. There are distinct differences between men and women, especially in how they attract one another and how they make decisions. Through this poem I felt that Spenser is expressing the beauty that women may harness to attract a man to be her mate. Spenser compares women to hunters when he describes the tactic used by women to attract men. Spenser formerly goes on to describe the feelings that come with being in a relationship. Through this poem, Spenser uses symbols to give a sarcastic spin to warn people not to make judgments based on first appearance and furthermore to warn men that they may attain the wrong first impression of and woman and to be careful not to fall for a woman’s beauty, since it is certain that a man will lose his freedom.