A central element that is fostered throughout the poem is the sense of emotional intensity and passion which is suggested by images and metaphors of burning and fire. For example, who had the lure of love in my breast, what wonder if I suddenly caught fire?
The second stanza continues the theme of lost love. The woman is depicted in a golden light and idealized form, which is supported by the emotional intensity of the protagonists love for her. This stanza also follows the same pattern of increase and decrease in intensity and the shift between adoration and loss of love. This pattern continues throughout the stanzas and culminates in the final lines of the poem. It is as if the recollection and memory of the loved one intensifies the feeling of love and passion to mythical proportions.
Her way of moving was no mortal thing, but of angelic form: and her speech rang higher than a mere human voice.
The above lines reflect the way that the image of the woman is beyond all mortal categories and that she has, in the eyes of the protagonist, assumed a state of idealistic perfection in his mind.
The final stanza continues this metaphoric exaggeration, which is intended as an expression of his love for her. "A celestial spirit, a living sun." The metaphor used in this line is clear and the woman is seen as the very source of life itself, as well as someone who has transcended this world and lives in a perfect spiritual form. However, this intensity...
The Spenserian sonnet combines elements of both Italian and the Shakespearean forms. It has three quatrains and a couplet but differ in that it has linking rhymes between the quatrains. In the 17th Century the sonnet was adapted and used by John Donne in his religious poetry and by Milton who adapted to political themes. It was later revived by Wordsworth in the 19th Century, after being relatively neglected in
..come kiss me, sweet and twenty,/Youth's a stuff will not endure." Although the singer of "O Mistress Mine" is equally aware as the author of Sonnet 18 that life is not forever, and we must love while we can, his attitude is not to make sense of this by trying to create something permanent in the form of a poem, but to entertain and achieve an objective of a kiss! Life
Renaissance Art An Analysis of Love in the Renaissance Art of Sidney, Shakespeare, Hilliard and Holbein If the purpose of art, as Aristotle states in the Poetics, is to imitate an action (whether in poetry or in painting), Renaissance art reflects an obsession with a particular action -- specifically, love and its many manifestations, whether eros, agape or philia. Love as a theme in 16th and 17th century poetry and art
Even in Catholic France, the Protestant sentiment that God's grace alone can save His fallen, human creation was evident in the humanist king, Francis I's sister, Margaret, Queen of Navarre's novel when she wrote: "We must humble ourselves, for God does not bestow his graces on men because they are noble or rich; but, according as it pleases his goodness, which regards not the appearance of persons, he chooses
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