Summary Of The Passionate Shepherd To His Love

Ralegh conveys this somber realization through his plain style of verse. Though he describes the mistress in detail, she is not the subject of his poem. Ralegh uses Love’s mistress and her destruction as a vehicle to address the destructive nature of Time. He approaches that subject in the plain style, using short, proverbial phrases intended to make the reader aware of time and mutability. The poem contains several lines that are made entirely of one-syllable words, which draw out the time it takes to read the line. Contrast lines 31-32 in “Nature, that washed her hands in milk” with lines 8 and 10 in Christopher Marlowe’s “The Passionate Shepherd to His Love” (p. 989). Marlowe describes the land in which he lives, where “Melodious birds sing madrigals,” and beds are made of “a thousand fragrant posies”. Marlowe’s verse sounds quick and light when spoken, simply because he uses fewer words in an eight-syllable line. Ralegh, in contrast, often uses seven or eight words to fill the same eight-syllable line: “Oh, cruel Time! which takes in trust/Our youth, our joys, and all we have…” Line 32 especially requires that the reader take more time to pronounce each syllable, which adds weight to each word.

Marlowe’s perspective on nature is a rather positive one, and with the use of imagery and structure he explains to the reader why his perspective is so. This can be seen when Marlowe states “And we will sit upon the rocks, Seeing the shepherds feed their flocks, By shallow rivers to whose falls Melodious birds sing madrigals.” In the stanza that has been presented, Marlowe uses very delicate examples of nature to persuade the reader that nature can provide for humanity, as the examples make it seem as so. In addition Marlowe also uses a very calming rhyme scheme to support his perspective. He uses this to persuade the reader that that is what nature is, very calm and delicate. The use of rhyme scheme also allows for a very nice flow throughout the poem, giving the readers a more enjoyable experience when reading. With the use of both imagery and structure, Marlowe is easily able to support his perspective upon nature.

Like every marketed love story out there, the poem starts off with two souls who secretly admire each other, yet are too afraid to admit it. In a society that at that time would quite possibly think

The two poems “Magic of Love” by Helen Farries and “Love Poem” by John Frederick Nims are both poems with the central theme of love. The ways that these two authors express this theme differ significantly from each other and show two spectrums of love in literature. Through their use of syntax, diction, rhyme, and meter, these poets portray love in a unique and personal manner that illicit specific emotions from the reader for a variety of possible reasons, which will be analyzed in this essay.

A slightly different approach to a proclamation of love is conveyed in the third poem,  by Christopher Marlowe.  He,  despite having the same aim as the poet in the first poem,  seeks a far more realistic approach,  and seems to try to win his loves over by being truthful and presenting her with the truth.  However he does this in such a manner,  that the poem seems to contain a touch of sarcasm in it.

The passionate Shepherd to his love is a pastoral poem that focuses on the Shepherd who tries to win the love of his crush ( the Nymph ) by telling her of all the joys and pleasures of nature, the Shepherd also tries to win the Nymph’s love by offering her materialistic items. The Shepherd tells the Nymph that if she comes to be with him then he will do all these wonderful things in nature with her like: “we will sit upon the rocks, seeing Shepherds feed their flocks,”( line 6) “and I will make thee bed of roses. And a thousand fragrant roses.”( line 9) Along with offering the Nymph a bunch of things from nature he also offers her a bunch of materialistic items such as a buckle made of gold,( line sixteen) and a gown made of wool.(line thirteen) The Nymphs turned down the Shepherd’s love, because she says that the items that the Shepherd is offering to her have no long-lasting value. Because all the things that the Shepherd offers to the Nymph are not long lasting their love will not be long lasting either; all of the Shepherds offerings are things in nature that do not have long-lasting value to them; so the Nphm believes that their love will be no different.

I have chosen to compare and contrast three "love" poems with three "lust" poems from our text, An Introduction to Poetry (9th edition, Kennedy and Gioia, Longman Publishing). I feel that poems about true love often incorporate themes of duration, unity and longevity; all lasting sentiments. Conversely, poems of a lusty nature convey the sentiment that the feeling is transitory, and must be pounced on immediately (before we get a chance to think about it too much).

I read the assigned reading from Laniak’s Shepherds After My Own Heart with great interest. The author does not waste time and starts by giving the reader a through overview of the historical context of the shepherd motif in the ancient world. This concept is grounded in the cultural traditions of the ancient near east world. After a lengthy exposition of the shepherd role in the ancient world, the author gives of a thorough explanation of the role the shepherd motif played in the Old and New Testament. Laniak’s says that ‘the thesis of this present work is that a discernable pastoral ‘stream of tradition’ flows through the Scriptures’ (Laniak 2006: 24).

Lastly, the Romantic Era blended human emotions with nature. The interfacing of emotion and nature was emblematic of Romantic poetry, whether it engrossed the idea of bequeathing human emotions to an innate article like a river or connecting the scenery to the temperament of the writer. (James, 491) This kind of beauty that is

Plath seems to then have a change of heart. She creates a fragile, beautiful image of her child; "All night your moth-breath / Flickers among the flat pink roses." Use of consonance in "moth-breath" and alliteration in the line "Flickers among the flat pink roses" constructs the soft sounds of the infant's breathing. It is interesting how she utilises the flower imagery which is similar to her other poem, Tulips. In Tulips, the flowers bring her back from the state of detachment, and here it is the baby's breath, soft as roses, the awakens her love for her child. The awakening of this love is expressed in the last lines of that stanza; "I wake to listen: A far sea moves in my ear."

Debora B. Schwartz in her article, "Pastoral Poetry and Pastoral Comedy" highlights the fact that the major themes which are typically discussed in pastoral poetry include: "love and seduction;… the corruption of the city or court vs. the ‘purity’ of idealized country life…" (par. 2). In the poem, "The Passionate Shepherd to His Love," the theme of the "'purity' of idealized country life" is explored when the male persona attempts to use words which conjure up images of an paradise which he and his love interest can escape to sexually gratify each other. The male persona entices his love interest to "come live" with him and be his love (l. 1). He desires that he and his lover's "prove" the various "pleasures" that "woods or steepy mountain yields" (ll. 2, 4). This argument is rebuffed by the female persona in the poem, "The Nymph's Reply to Her Husband," when she states the following: "Time drives the flocks from field to fold, /When rivers rage and rocks grow cold" (ll. 5-6). It should be noted that these lines reflect the following lines of Marlowe's poem: "And we will sit upon the rocks, / seeing the shepherds feed their flocks/ by shallow rivers…" (ll. 5-7). The female persona undermines the shepherd's idealization of the countryside and pastoral life since the passage of time, depicted by the seasons, will change the characteristics of these things described so positively by the male persona in Marlowe's poem.

The passionate Shepherd begins his poem with “Come live with me..,” a hopeful proposition that displays the Shepherd’s eagerness of living with his love for the rest of his live. Alliteration is used in the next line as he says, “And we will all the pleasures prove…”, to emphasize all the precious moments they'll experience together if she comes to live with him. The author, Marlowe in the final two lines of this stanza, records all the things the Nymph and the Shepherd will do together, and by listing them, he is making it appear as in fact that there is an astonishing assortment of scene to enjoy. The wrier characterizes the nature in such a emotional way that it makes them show up as in the event that they are in it or portion of it. The Shepherd sounds greatly positive all through the poem, in away that appears how beyond any doubt he has that the nymph would accept his offer.These zones he is listing are all sensational, normal pleasures and have not been changed by man, nothing is manufactured. When it says, “…or steepy mountain yields”, the Shepherd is appearing that there is an extra sense of flexibility and that together they will enjoy the common delights. He is forlorn and truly needs a companion that he can provide for. He guarantees to bring her numerous things, “And I will make thee beds of roses,” and “A

The second poem is another love poem ‘The Passionate Shepherd To His Love’ by Christopher Marlowe. There are many similarities and differences between the two poems. Both poems are love poems aimed at women, and both are trying to persuade. In ‘To His coy Mistress’ the poem is split into a thesis, anti-thesis and synthesis and is attempting t persuade a woman to give up her virginity. ‘Passionate Shepherd’ is set into a series of four line long stanzas which form an ideal rural world where a man wants his love to live with him.

Pastoral poetry came into place during Queen Elizabeth's reign. Pastoral poems, is a form of poetry that deals with the lives of shepherds and shows a contrast between the innocence and simplicity of rural life compared with the city life. “The Passionate Shepherd to His Love” is a type of pastoral poem composed by Christopher Marlowe in the late sixteenth century. This poem entails shepherds and the country life. This poem was written in a shepherd’s point of view who thinks idealistically and romantically. Marlowe, received many responses to his poem; one being from his friend Sir Raleigh Walter. Raleigh in his poem ‘The Nymph’s Reply to the Shepherd‘ is a direct response to ‘The Passionate shepherd to His Love.’Marlowe emphasized on the claim that the shepherd is attempting to woo the young woman through his pleasure and idealistic love but overall does not reach his purpose through the invention, arrangement, and appeal which is brought to light by Raleigh.

The passionate shepherd to His love poem is a poem that portrays the basic romanticizing of the country living which describes the nature of the environments and is very sentimental. Christopher’s poem is showing the best fantasy of ordinary romance that would be much better felt in the countryside other than the urban side of the country. Nature is of the essence. The nymph's reply to the shepherd Poem, on the other hand, is based on how he perceives the passionate shepherds to his love. Sir Walter has a different perception of the nature romantics; he presents a contrast in his poem. Christopher Marlowe and Sir Walter Raleigh are having a dialogue which is contradictory dialogue.