In the poem, the rhyme scheme is inconsistent, in that it follows a pattern of AAABBCCDD. In poetry, a constant rhyme scheme is used to show consistency of a subject. By choosing to not conform to a fixed rhyme scheme, George Peele implies that love is something that is inconsistent. When examined at surface level, love appears to be something wholesome and good. However, there are darker aspects to love, such as unrequited love that can cause pain and ‘make such holes into our hearts’.
It has an iambic metre and the rhyme scheme is a cross rhyme throughout the poem. The first stanza offers a good insight into the theme of the poem. It is built up on statements which contradict each other. '[Thick] ' (l. 1) and '[thin] (l. 2), for example, are attributes used to illustrate love in comparison to forgetfulness. However, as they form a contrast, they do not enlighten, but disorient the reader even more.
In A Ritual to Read to Each Other, William Stafford speaks about a different kind of love than in Shakespeare’s sonnet. The love Stafford describes isn’t romantic, rather it is built on the fragile communication we have with the people around us. Stafford emphasizes the love of humanity, and begins his poem by pointing out how desperately bereft we are of this kind of empathy today. In the second stanza Stafford talks about the emptiness that exists between us. According to the poem we’ve become so inept at communication, that a misread of someone’s gestures could send the insecurities of childhood back to haunt us.
Both Wilde and Burge take a word, Ernest/Earnest, and use it in such a way the reader/viewer has to stop and think about it. The words Wilde chose in many scenes were ambiguous at best. This certainly adds to the wit and humor. Wilde appears to intentionally allow the readers to formulate two different scenes in their minds but Burge does not always do this. Burge omitted lines, which showed this type of ambiguity.
Overall, Shakespeare has presented love as a complex theme throughout Act 1 by consistently showing how love can either end in happiness or hurt. Many of the character throughout the play seem to view love as a curse placed onto people and as something that causes indescribable pain; whereas others view love as something that brings them happiness and joy. These two ideas greatly contrast each other exemplifying how complex love really is. Furthermore, the play as a whole shows how love cannot jump over every hurdle placed in front of it and when it fails to make it over that hurdle the characters feel great
What one desires should be clear, but for Conrad and Gulnare, It is not so. These three epitaphs set the emotional charge of the succeeding Canto, but they only do so after a second reading when their connotations are less “dim;” thus, simultaneously spoiling the story for the reader and asserting the creator’s superiority. Byron further manipulates the reader using conventions, especially in the form of verse he uses, but he wholly admits this in his
Love and a Question lacks of figurative speech because it is more a direct narration than a poem with deeper meaning. The story itself tries to narrate a story with a introduction, climax or conflict, and a denouement in a poetic way. In addition, symbolism is mainly from the term “Stranger” representing how the speaker can’t recognize himself, was doubtful about his love and didn’t know what to do to avoid a major loss. With the devices and clues, the reader can infer that the speaker shows a negative tone and an attitude of grief, regret or distress because he was loosing what he probably loved the most, questioned their love, and it was to late to avoid it. “The bridegroom came came forth into the porch with, ‘Let us look at the sky, a And question what of the night to be, Stranger, you and I.’” and “To mar the love of two By harboring woe in the bridal house, the bridegroom wished he
Similarly to More and Congreve, Melick finds comfort in his ignorance and is quite hostile to differing takes. De Mille describes Melick as “a litterateur”, whom alike to Congreve, proceeds to decipher the manuscript through the expertise he is familiar with (99). Yet, naysayers will state that Melick exemplifies an accurate interpretation of the novel as “a satirical romance” that mocks society; nevertheless, that is not the problem with Melick (De Mille 245). The issue that confounds Melick is his neediness to belittle and ridicule the remarks of his companions. After Congreve’s long and tedious explanation of “polar day”, Melick ridicules Congreve by giving him a glass of wine and remarking “after all those statistics… you must feel rather
Many of Rochester 's poems seem to drastically range in their treatment of individual topics. On one end, poems such as “The Disabled Debauchee” operate with a satirical, ironic distance, although moments of the subversive and erotic are intermittently placed throughout. Opposing that, something more akin to the lyric “Love and Life: A Song” reflects a wistful sincerity, lacking the sharp wit that characterizes his other works. In trying to reconcile this difference between the satirical and the lyric within the context of Rochester’s entire poetic canon, Katherine Mannheimer proposes “[Rochester’s poetry suggests] that human beings ought not to stay within the bounds of a single level of mentality, as it were, but rather to explore those regions