The all-seeing sun Ne’er saw her match since first the world become. (ACT 1, SCENE 2) * Does Romeo over dramatise the situation when he talks to Benvolio? Romeo does over dramatise this situation because he wants to seek attention. These things that Romeo does makes him seem immature. BENVOLIO: what sadness lengthens Romeo’s hours?
William Shakespeare establishes Benedick’s character by using diction and imagery to show his changed viewpoint on marriage. Benedick is strongly opinionated and rarely ever let’s his guard down when it comes to feelings or love. After he overhears that Beatrice is in love with him, he ponders what to do. The characterization is established through diction, “And wise, but for loving me; by my troth it is not addition to her wit, nor no great argument of her folly, for I will be horribly in love with her!” (II.3.235-237). He is saying that is might not be wise for loving him, but he swears it won’t be stupid for he is going to be “horribly” in love with her.
The all seeing sun / Ne’er saw her match since the world begun” (1.3.99-100). By contrast, when Romeo lays eyes on Juliet, he immediately associates Juliet’s beauty with the sun during his exclamation, “It is the East, and Juliet is the sun” (2.2.3). Therefore, Rosaline’s physical appearance, Romeo’s original motive for love, instantly pales against Juliet’s extrinsic and external beauty. Also, Romeo’s expression of his love for Rosaline through oxymoron such as, “O brawling love, O loving hate” serves to illustrate the unclear nature of his love for her (1.1.181). Romeo’s equivocal love for Rosaline is chiefly
This is further carried on in the next line where the poet uses the sibilance of “so sweet and so sudden” to reinforce his unbearable surge of emotion. On the contrary, ‘Sonnet 29’ also uses sibilance, but for a completely different purpose. The sibilance of “man’s desire is hushed so soon” creates a hissing sound, making the tone slightly bitter and angry as the poet talks about how love will leave you vulnerable. This is thoroughly different compared to ‘First Love’s lyrical, melodic feel as Clare talks about the gentle nature of love. ‘First Love’ also portrays love as something innocent.
‘Had we’ tells us that the persona is fantasising about what could happen, and that the images created here have in fact not happened yet. ‘But we’, shows that there is a set back to the plan, in the form of lack of time. ‘Now therefore’ presents a solution to the previously mentioned problem, giving his lover no excuse not to return his love. The idea that there is a plan in the persona’s head is humourous, informing the reader of his extreme keenness. In contrast, ‘Sonnet 43’ is set out like a typical Shakespearean sonnet, 14 lines in a metre called ‘iambic pentameter’ which is when the first syllable is unstressed, followed by a stressed syllable, this pattern repeated five times making up the line.
“To His Coy Mistress” is a lyrical poem written by Andrew Marvel. In this poem, Marvel uses vivid imagery and explicit allusions to convey the urgency of time and the impending doom that each passing moment presents. The speaker of the poem, a young man, uses the element of time to plead relentlessly with the female object of his desire to seize the day. He urges her to act swiftly, to give him her virginity before time slips away from them both, and the moment is lost forever. In the first stanza of the poem, the young man is attempting to persuade the young woman to stop coyly refuting his advances, desperately explaining that there is not enough time for such an act.
Venus and Adonis, lines 720-810 This section of Shakespeare’s poem, moves away from the comedy and sexual innuendo of the previous section, into a more serious debate on the nature of love. Up until this point we have been given an elaborate description of Venus`s physical desire for Adonis and her argument for its consummation. Till this juncture, Adonis has appeared powerless to admonish her aggressive advances, which appear masculine in their nature, while he takes on a more effeminate role. It is from lines 769-810 that Adonis speaks nearly half of his lines; he only communicates 80 lines in the whole poem. When he first speaks, Venus brashly teases him, ‘what canst thou talk?’, ‘hast thou a tongue (427)?’ He appears to have gained some confidence in this latter episode, maybe because Venus has started to show a more emotional side, identifying Adonis as ‘love`s master (585)’ and stating that she will ‘waste in sorrow (583)’ without him.
The Friar responds with, “Young men’s love then lies/ Not truly in their hearts but, in their eyes jesu maria, what the deal of brine/ Hath washes thy sallow cheeks for Rosaline!”(2.3.68-90). In the first act, Romeo thought himself to be in love with Rosaline. Romeo had been distraught over the fact that his beloved Rosaline was going to become a nun. Romeo would never be able to love Rosoline, or be with her. Friar Lawrence makes fun of Romeo saying that young men only love what they see.
Hamlet writes to Ophelia, reminding Ophelia that he is strongly in love for her. Hamlet writes: “Doubt thou the stars are fire; / Doubt that the sun doth move; / Doubt truth to be a liar; / But never doubt I love (2.2.122-125). He is telling her not to believe in anything but him. This also reveals his true love for Ophelia. Thirdly in Act 3, Hamlet continues to express his
The occasional, but very deliberate, use of two unstressed syllables within some lines quicken the pace, emphasizing the message to the reader. In a letter to John Bartlett in 1914, Frost wrote “You listen for sentence sounds.” (Geddes, 47). The mournful feeling of the poem is lightened by the use of alternating masculine end rhymes, which gives the poem an almost playful cadence. Frost’s connotative use of imagery describing “The people along the sand” (line 1) who “… turn their back on the land” (line 3) even though “The land may vary more;” (line 9) suggests that, as a whole, the human race are disinclined to face reality and “… turn and look one way.” This detached, impersonal view is continued throughout the poem with the repeated use of the third person