The Poetry of Andrew Marvell and John Donne Essay

‘To His Coy Mistress’ was written by Andrew Marvell (1621-1678). The poem is a metaphysical poem, which was mostly used in the seventeenth century and was classed as a highly intellectual type of poetry and mainly expressed the complexities of love and life; just as this poem is. In brief the poem is about seizing every opportunity in life and not caring about the past or future. In other words ‘seize the day’. The poem also explores the nature of seduction.

John Donne’s poems are similar in their content. They usually point out at same topics like love, lust, sex and religion; only they are dissimilar in the feelings they express. These subjects reflect the different stages of his life: the lust of his youth, the love of his married middle age, and the piety of the latter part of his life. His poem,’ The Flea’ represents the restless feeling of lust during his youthful days but it comes together with a true respect for women through the metaphysical conceit of the flea as a church in the rhythm of the sexual act.

The poem is structured in a way which follows the proper metre for a sonnet, however, it is unusual in a sense that it is free verse and has no rhyme scheme. The sentences are broken to fit the iambic pentameter. This creates pauses, and a choppiness in the flow

She also presents a slight rhythm to the reading that allows for smooth reading. In keeping with her open form, there is no set scheme to the rhyme pattern. However, there is a single ending sound constantly repeated without a set pattern throughout the work. She also connects pairs of lines at random just for the sake of making connections to make that particular stanza flow. At the same time, she chose blatantly not to rhyme in certain parts to catch the reader’s attention.

The poem also uses end rhyme to add a certain rhythm to the poem as a whole. And the scheme he employs: aabbc, aabd, aabbad. End rhyme, in this poem, serves to effectively pull the reader through to the end of the poem. By pairing it with lines restricted to eight syllables. The narrator creates an almost nursery-rhyme like rhythm. In his third stanza however, his last line, cutting short of eight syllables, stands with an emphatic four syllables. Again, in the last stanza, he utilizes the same technique for the last line of the poem. The narrator’s awareness of rhyme and syllable structure provides the perfect bone structure for his poem’s rhythm.

The poem is formed of eight stanzas, each one is six lines long except for the fifth stanza which is an octet. The stanzas are formed of sets of three rhyming couplets in the

The poem is composed in free verse and it has no rhyme scheme or meter. It is 51 lines long and takes no particular structure with fluctuated line lengths all throughout the work. It is told as story from what can be accepted is a young boys' viewpoint. There are points in the story where it makes it clear the story is being told later on, as in line 8 where it is composed "Even/a quarter century later…." however a significant part of the story is told in the current state. This change makes readers feel as though we are

The poem does not follow a rhyme scheme or meter, which means that there is rhythm in the poem and it makes the poem more like a song. The poem has four stanza’s and has five lines within each stanza.

With a few exceptions, the poem primarily follows the form of accentual-syllabic verse. The majority of lines are composed of three syllables, most often two unstressed and one stressed. Using a combination of structural technique and descriptive language, Williams emphasizes the action of visual perception.

The third stanza which marks the middle of the poem begins, "The Ocean said, Come flow freely with me" with ten syllables written in pentameter accompanied by iambic, spondee and trochee syllables. A steady rhythm in meter is noted in the next four lines which declines to trimeter for all four lines. Line fourteen, "and the creatures in my seas." contains pyrrhic, trochee and anapestic syllables. The fifteenth line in trimeter, "Here your tears will disappear," contains for the first time in the poem, a dactyllic syllable accompanied by the iambic syllable. Line sixteen, "and your worries will cease." contains again the iambic syllable now accompanied by the pyrrhic syllable. The last line in the series of trimeter lines is line seventeen which states, "Be the element that I need.". concludes the metered pattern. In lines fourteen through seventeen the meter is measured the same, however there is a new element added to the syllables previously used in the beginning stanzas. The repeated trimeter is suggestive of familiar situation but the new syllable is

The Flea and To His Coy Mistress are two poems written by poets living during the Renaissance Period. To His Coy Mistress was written by Andrew Marvell and The Flea was written by John Donne. Both of these poets were well-educated 'metaphysical poets', and these poems illustrate metaphysical concerns, highly abstract and theoretical ideas, that the poets would have been interested in. Both poems are based around the same idea of trying to reason with a 'mistress' as to why they should give up their virginity to the poet.

The poem contains six quatrains, and does not follow any consistent rhyme scheme. Every line starts with a strong beat and ends up with a weak beat. The first and third lines in each stanza have iambic tetrameter, but the second and fourth lines do not contain any consistent meter. The feet generate a rhythm

Along with the irregularities in meter, neither poem has a regular line length or rhyming pattern. Dickinson’s poem contains alternating tetrameters and trimeters, with the exception of the first line, which contains 7 syllables. The poem contains some irregular rhyme; ‘heard’ in line 5 rhymes with ‘bird’ in line 7, and ‘Sea’ in line 10 rhymes with ‘Me’ in line 12. Whitman’s poem contains even more irregular line lengths. The first 4 lines of each stanza vary from 12 to 15 syllables, but the last 4 lines of each stanza vary from 5 to 8 syllables. Unlike in Dickinson’s poem, the rhyming scheme carries throughout the whole poem, although the AABBCDED rhyme pattern contains a few cases of near rhyme.

Donne transformed the love poetry he wrote in his early days, beginning in 1617 with the death of his wife Anne More, to religious poetry with a strong sense of awareness of death and its import. This poetic development from classical poetry to more personal poetry reflects the events that marked his own life, and can be traced throughout his poetry. This kind of personal and thereby