Pre-Nineteenth Century Love Poems

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Pre-Nineteenth Century Love Poems

 

Analyse and Comparison of Pre-Nineteen century Love Poems

Love can be expressed in a range of ways through words, songs, facial expressions, actions and poetry, which isn’t as commonly used as it used to be. Love can also have different perceptions, some people would class love as people they care about, and there is infinite love, unconditional love, passionate love, sexual love, growing love and many other ways. People compare love to many different things to nature (which is a common one), past experiences, emotions, the colour red, subjects at school, and famous people.

   Love poems are away of flattering loved ones, making them feel special, its also away of seducing, basically telling your lover how feel about them.

   In my course work I will be looking at three different poems William Shakespeare “Sonnet 130” which shows unconditional love with a twist, John Dunne “The good morrow” which looks at the more familiar terms of lover and finally Elizabeth Barret Browning who looks at infinite love.

       All three of these poems have different use of imagery, styles, language and structure; they basically look at love in different way. They also have similarities, through out the essay though these will be explained.

  William Shakespeare is considered to be one of England’s supreme poet and playwrights. He was born in Stratford-upon-Avon on April 23, 1564 and lived in London for most of his adult life. The acting company he joined set up the globe theatre, where many of his famous plays were first performed. He died on April 23, 1616 and was buried in the Stratford church.

 This sonnet is one of Shakespeare most famous. He plays an elaborate joke on the conventions of love poetry of Shakespeare’s time. Before the time of Shakespeare sonnets, previous generations made women out to be superficial goddesses. Shakespeare not only altered the structure of these poems but also toyed with the idealistic perception of the perfect woman. He took the poem to a deeper level where looks were no longer important and it was inner beauty that matters.

The start of this poem compares the Shakespearean lover to a number of other beauties and never in the lover's favour. Her eyes are "nothing like the sun," her lips are less red than coral compared to white snow, her breasts are dun-coloured, and her hairs are like black wires on her head. In the second quatrain, then Shakespeare says he has seen roses separated by colour ("damasked") into red and white, but he sees no such roses in his mistress's cheeks and he says the breath that "reeks" from his mistress is less delightful than perfume. He admits that, though he loves her voice, music "hath a far more pleasing sound," and that, though he has never seen a goddess, his mistress unlike goddess’s walks on the ground. The rhetorical structure of Sonnet 130 is important to its effect.  

He then finishes the poem with the last rhyming couplet, which makes up for his recent insults to his wife, The speaker declares his love is “by heaven”, that he thinks his love is valuable and rare, And that there love is much stronger than “any she belied with false compare”. So overall he is saying his love is far more valuable than any other, and although she doesn’t compare to the earth’s natural beauties, he doesn’t care because he can look past that and loves her for whom she is.  

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Throughout the whole poem Shakespeare engages all of the senses, it’s this senses that are able to give you the perfect image of the ideal women, then the perfect image of his mistress. Shakespeare uses sight as the main sense throughout the poem “coral is far red than her lips” here you are given the image of red quite clearly, then given the complete opposite image of his mistress, giving you two images in one. The other senses Shakespeare uses are (“touch”) “if hairs be wires, then black wires grow on her head”, (“smell”) “and in some perfumes is there ...

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