The men in both poems truly loved their women in the beginning, but by the end they had become obsessive, drove themselves to insanity, and slept next to the dead bodies of their lovers. God and the Angels played a role in the speakers mind, but in dissimilar ways, and both authors used some personification, one with the storm, while the other with the sea. Ultimately, love, true love, can drive you mad. The speaker in “Annabel Lee” describes his love for her as strong and powerful. He says “But we loved with a love that was more than love.” Their age had no determination on how much they loved each other; “But our love it was stronger by far than the love of those who were older than we.” In Porphyria’s Lover, the speaker describes their love more indirectly by saying she was “murmuring how she loved me.” This is very romantic, though she is still hesitant and can’t say it directly.
Rosaline is unobtainable, just like Juliet was at first. Romeo's words for his love for Rosaline are very insincere and he discusses his love for Rosaline using sad language "Aye me sad hours seem long", "In sadness, cousin, I love a woman." When Benvolio asks who he loves, Romeo does not give a straight answer but instead complains that she does not return his love "From Love's weak childish bow she lives uncharmed."
Elizabeth Barrett-Browning’s sonnet sequence Sonnets from the Portugeuse, explores the experence of idealised love in the patriarchal confines of the Victorian era, juxtaposed against F. Scott Fitzgerald’s novel The Great Gatsby, which comments on the unatanability of idealised love due to the corruption of the American dream. Through an exploration of love, both composers subvert societies preconcieved attitutdes to love through the reccurring motif of ‘Plato’s ladder of love’. Barrett-Browning’s poems highlight the realities of a spiritual, connected love, contrasting to Fitzgeralds commentary on the illusionary goals of ‘true’ platonic love in the post WWI hedonistic, materialistic society. Barrett-Browning conveys the Romantic ideals of platonic love, against the prudish rationalism of the Victorian era. The Petrarchan sonnet form has an inbuilt dialectic structure, enabling her to have a progressive narrative, which follows the path of the Platonic system.
| LossLoveAnger | “As if she were stroking a little bird” | Simile.Class differences (Giles and Doc)Melodramatic, Giles dies after sleeping in rain.Poetic, rhythmic.Eyes are a metonym for beauty. | Sense and SensibilityJane Austen | 1811Rom. | MarriageRomanticIdealisticBetrayal | | Third person.Latinate adjectives for personality.Use of free indirect speech. | Jane EyreCharlotte Bronte | 1847Vic. | ForbiddenSocial divide | “Bone of his bone and flesh of his flesh.”“With my veins running fire”“Women feel just as men feel”Use of pathetic fallacy | So close together they are one entity, co-dependent due to his disability, which joins them.
489 lines (161-163). That was a line in the book Romeo and Juliet, written by William Shakespeare. That quote was said by Romeo in the very beginning of the book because he is so love sick over this girl named Rosaline. Throughout the book Romeo and Juliet, both Romeo and Juliet’s perspective on love changes along with their personalities. As I said before in the beginning of the book Romeo and Juliet, Romeo is gloomy and feeling hopeless about love because Rosaline (the women he “loves”) is not going to get married.
In other words, Rosaline has sworn off boys and sex, which means that Romeo has no chance of winning her heart. What's interesting about this passage is that Romeo sounds a whole lot like a typical "Petrarchan lover." Petrarch, by the way, was a fourteenth-century Italian poet whose sonnets were all the rage in Renaissance England. In fact, Shakespeare's own collection of Sonnets are, in part, inspired by Petrarch's love poetry, which was written about "Laura," a figure who was as unavailable and unattainable as Romeo's current crush (Rosaline). Petrarchan poetry happens to contain a lot of metaphors that equate the pursuit of love with hunting and/or battle.
One of the themes that dominate Slessors poem, Sleep, is the idea that the act of sleep is wholly overlooked as a beauteous daily act and the cleansing affect it has on the mind, body and soul. The first stanza is constructed as a rhetorical question asking the audience if they will give themselves wholly to the unconscious act of sleep. The answer “yes utterly” is italicised to show that a second voice is present. Whilst this second voice may seem unnecessary it conveys to the audience how one must be fully consensual in surrendering themselves to the hands of sleep. The use of alliteration, “blindly and bitterly”, assonance, “carry you and ferry you”, and the repetition of the word “you” throughout the poem enforces a hypnotic beat which symbolises the steady beat of the human heart as a person sleeps.
WWhen You Are Old William Butler Yeats|Paraphrase| When you are old and grey and full of sleepAnd nodding by the fire, take down this book,And slowly read, and dream of the soft lookYour eyes had once, and of their shadows deep;How many loved your moments of glad grace,And loved your beauty with love false or true,But one man loved the pilgrim soul in you, And loved the sorrows of your changing face.And bending down beside the glowing bars,Murmur, a little sadly, how Love fled.And paced upon the mountains overheadAnd hid his face amid a crowd of stars.|When you’re old and tired and about to fall asleep by the fire, pick up this book and begin to read of how the past used to be. Think about the deep feelings that your eyes once held. There were many people that loved you in times of your joy. You were loved for your beauty, half truly in love while others in lust. But there was one man that truly loved you and your traveling soul and the sadness of your face as you grew old.Bending closer to the fire, you murmur with sorrow how your love died and is now up in heaven watching from an unseen place.| Subject The subject of this poem is a women being reminded of her past and the one man that truly loved her without any exceptions.
TONIGHT I CAN WRITE Lines 1–4 The theme of distance is introduced in the opening line. When the speaker informs the reader,"Tonight I can write the saddest lines," he suggests that he could not previously. We later learnthat his overwhelming sorrow over a lost lover has prevented him from writing about their relationship and its demise. The speaker's constant juxtaposition of past and present illustrate hisinability to come to terms with his present isolated state. Neruda's language here, as in the rest of the poem, is simple and to the point, suggesting the sincerity of the speaker's emotions.
“The Sun Rising” is perfectly described as an aubade: a poem about lovers separating at dawn. In this poem, composed in the form of a dramatic monologue, the speaker begins by scolding the intruding sun for disturbing him: “Busy old fool, unruly Sun, why dost thou thus, through windows, and through curtains, call on us?” This also expresses the reckless pride and satisfaction felt by the lover in bed with his beloved and sets the annoyed tone. The speaker then tells the Sun that lovers’ seasons do not run to its motions, and advises the Sun to do routine jobs like chiding late-schoolboys and apprentices, waking up court-huntsmen and peasants: “Must to thy motions lovers’ seasons run?... call country ants to harvest offices;” He concludes the stanza by saying that it's more important to be in love than to be on time: time, age, or season have no say in the subject, which emphasizes his lack of care for anyone or anything, except his lover. Stanza 2 highlights the turn of the tables.