English 120 Midterm
Adam lay ybounden, bounden in a bond, Four thousand winter thoughte he not too long; And al was for an apple, an apple that he took, As clerkes finden writen, writen in hire book. Ne hadde the apple taken been, the apple taken been, Ne hadde nevere Oure Lady ybeen hevene Queen. Blessed be the time that apple taken was: Therefore we mown singen Deo Gratias.
Work: "Adam Lay Bound" Author: unknown Date: unknown Significance: This poem talks about Adam and Eve waiting in Limbo until their redemption through the Crucifixion (roughly 4000 years). The clear repetition of lines allows for musical phrases to be formed. The poet states that taking the apple was a happy fault because there would have been no reason for God to share Adam and Eve with the rest of humanity otherwise.
Bitweene Merch and Averil, When spray biginnieth to springe, The litel fowl hath hire wil On hire leod to singe. Ich libbe in love-longinge For semlokest of alle thing. Heo may me blisse bringe: Ich am in hire baundoun. An hendy hap ich habbe yhent, Ichoot from hevene it is me sent: From alle wommen my love is lent, And light on Alisoun. On hew hire heer is fair ynough, Hire browe browne, hire ye blake; With lossum cheere heo on me lough; With middel smal and wel ymake. But heo me wolle to hire take For to been hire owen make, Longe to liven ichulle forsake, And feye fallen adown. And hendy hap, etc. Nightes when I wende and wake, Forthy mine wonges waxeth wan: Levedy, al for thine sake Longing is ylent me on. In world nis noon so witer man That al hire bountee telle can; Hire swire is whittere than the swan, And fairest may in town. An hendy, etc. Ich am for wowing al forwake, Wery so water in wore. Lest any reve me my make Ich habbe y-yerned yore. Bettere is tholien while sore Than mournen evermore. Geinest under gore, Herkne to my roun: An hendy, etc.
Work: "Alisoun" Author: unknown Date: unknown Significance: This lyric is a reverdie and a stanzaic poem. The refrain is only printed one time, although it is repeated at the end of every stanza. The poem speaks about the poet being optimistic to win the affections of the lady that he loves.
Now we must praise heaven-kingdom's Guardian, the Measurer's might and his mind-plans, the work of the Glory-Father, when he of wonders of every one, eternal Lord, the beginning established. He first created for men's sons heaven as a roof, holy Creator; then middle-earth mankind's Guardian, eternal Lord, afterwards made - for men earth, Master almighty.
Work: "Caedmon's Hymn" Author: Bede Date: ~580 (published 785) Significance: This work is the oldest piece of English poetry that we know about. Bede translated and published the hymn in The Ecclesiastical History of the English Nation. Caedmon is embarrassed to sing at dinner parties so he leaves, until one night someone appears to him in a dream and demands that he sings about the Creation; this allows us to see that most Old English was composed and performed orally and was performed to music. Caedmon is taken to the abbess and becomes a monk; he then creates and performs oral stories about the Bible in poetic form. Bede attribute's Caedmon's poetry to divine intervention because he celebrates the revolution of Anglo-Saxon verse being used for Christian subject matter.
Divers doth us, as I have heard and know, When that to change their ladies do begin, To mourn and wail, and never for to lin, Hoping thereby to pease their painful woe. And some there be, that when it chanceth so That women change and hate where love hath been, They call them false and think with words to win The hearts of them which otherwhere doth grow. But as for me, though that by chance indeed Change that outworn the favor that I had, I will not wail, lament, nor yet be sad, Nor call her false that falsely did me feed, But let it pass, and think it is of kind That often change doth please a woman's mind.
Work: "Divers Doth Use" Author: Sir Thomas Wyatt Date: 1530s (1503-1542) Significance: The rhyme scheme of this poem is abba, abba, cddc, ee. The first four lines claim that people are accustomed to mourn/wail and to never stop when their ladies change so that they can appease their own woe at their ladies changing. Lines 5-8 claim that, when women change, men are likely to call them false. The speaker claims that he will not do what other people do but will instead let the whole issue pass, although we wonder if that is what is really going on here.
Farewell, Love, and all thy laws forever, Thy baited hooks shall tangle me no more; Senec and Plato call me from thy lore, To perfect wealth my wit for to endeavor. In blind error when I did persever, Thy sharp repulse, that pricketh aye so sore, Hath taught me to set in trifles no store, And 'scape forth since liberty is lever. Therefore farewell, go trouble younger hearts, And in me claim no more authority; With idle youth go use thy property, And thereon spend thy many brittle darts. For hitherto though I have lost all my time, Me lusteth no longer rotten boughs to climb.
Work: "Farewell, Love" Author: Sire Thomas Wyatt Date: 1530s (1503-1542) Significance: The rhyme scheme of this poem is abba, abba, cddc, ee. Wyatt makes use of the two-syllable rhyme (known as a feminine rhyme). The verses can be rough but that is likely due to a difference between writing and speaking. Wyatt's poem shows a negative view on love (references to baited hooks, brittle darts). This a typical renunciation of love.
I sing of a maiden That is makelees: King of alle kinges To her sone she chees. He cam also stille Ther his moder was As dewe in Aprille That falleth on the grass. He cam also stille To his modres bower As dewe in Aprille That falleth on the flowr. He cam also stille Ther his moder lay As dewe in Aprille That falleth on the spray. Moder and maiden Was nevere noon but she: Wel may swich a lady Godes moder be.
Work: "I Sing of a Maiden" Author: unknown Date: unknown Significance: This poem is a meditation on the idea of Mary as a virgin mother. It is an affirmation of the Christian paradox that all of Christianity accepts to be true.
Miri it is while sumer ilast with fugheles song; oc nu necheth windes blast and weder strong. Ei, ei! what, this nicht is long! And ich, with wel michel wrong, soregh and murn and fast.
Work: "Miri it is" Author: unknown Date: unknown Significance: This lyric is an anti-reverie that talks about the end of summer and the coming-on of winter.
Now gooth sunne under wode: Me reweth, Marye, thy faire rode. Now gooth sunne under tree: Me reweth, Marye, thy stone and thee.
Work: "Sunset on Calvary" Author: unknown Date: unknown Significance: This poem is a meditation on the Crucifixion.
Lully, lullay, lully, lullay, The faucon hath borne my make away. He bare him up, he bare him down, He bare him into an orchard brown. In that orchard ther was an hall That was hanged with purple and pall. And in that hall ther was a bed: It was hanged with gold so red. And in that bed ther lith a knight, His woundes bleeding by day and night. By that beddes sid ether kneeleth a may, And she weepeth both night and day. And by that beddes side there standeth a stoon Corpus Christi writen thereon.
Work: "The Corpus Christi Carol" Author: unknown Date: unknown Significance: ?
Sumer is ycomen in, Loude sing cuckou! Groweth seed and bloweth meed And springth the wode now. Sing cuckou! Ewe bletet after lamb, Loweth after calve cow, Bulloc sterteth, bucke verteth, Cuckou, cuckou, Wel singest thou cuckou: Ne swik thou never now!
Work: "The Cuckoo Song" Author: unknown Date: unknown Significance: This lyric is a hymn about resurrection and redemption, it is a very Christianized lyric. There is both a Latin religious version and an English folk version.
They flee from me, that sometime did me seek With naked foot stalking in my chamber. I have seen them gentle, tame, and meek That now are wild and do not remember That sometime they put themself in danger To take bread at my hand; and now they range, Busily seeking with a continual change. Thanked be fortune it hath been otherwise Twenty times better; but once in special, In thin array, after a pleasant guise, When her loose gown from her shoulders did fall, And she me caught in her arms long and small, Therewithal sweetly did me kiss, And softly said, "Dear heart, how like you this?" It was no dream, I lay broad waking. But all is turned, thorough, my gentleness, Into a strange fashion of forsaking; And I have leave to go, of her goodness, And she also to use newfangleness. But since that I so kindely am served, I fain would know what she hath deserved.
Work: "They flee from me" Author: Sir Thomas Wyatt Date: 1530s (1503-1542) Significance: This is not a sonnet because there are not fourteen lines. There are multiple changes in tone throughout the poem. The first stanza has the suggestion of domestic animals. The second stanza talks of one special time, one experience that was different from all the rest. The third stanza remarks that the special experience only happened once and that the speaker was not dreaming, but since he has been forsaken/turned away from/left behind.
"What is he, this lordling, that cometh from the fight With blood-rede wede so grislich ydight, So faire ycointised, so semelich in sight, So stiflich he gangeth, so doughty a knight?" "Ich it am, ich it a, that ne speke but right, Champioun to helen mankinde in fight." "Why then is thy shroud rede, with blood al ymeind, As troddares in wringe with must al bespreind?" "The wring ich have ytrodded al myself one And of al mankinde was none other wone. Ich hem have ytrodded in wrathe and in grame, And al my wede is bespreind with here blood ysame, And al my robe yfouled to here grete shame. The of th'ilke wreche liveth in my thought; The yeer of medes yelding ne foryet ich nought. Ich looked al aboute some helping mon; Ich soughte al the route, but help nas ther non. It was mine owne strengthe that this bote wrought, Mine owne doughtinesse that help ther me brought." Iche have ytrodded the folk in wrathe and in grame, Adreint al with shennesse, ydrawe down with shame." "On Godes milsfulnesse ich wil bethenche me, And herien him in alle thing that he yeldeth me."
Work: "What is he, this lordling, that cometh from the fight" Author: unknown Date: unknown Significance: This poem forms a poem out of a passage from the Book of Isaiah.
Whoso list to hunt, I know where is an hind, But as for me, alas, I may no more. The vain travail hath wearied me so sore, I am of them that farthest cometh behind. Yet may I, by no means, my wearied mind Draw from the deer, but as she fleeth afore, Fainting I follow. I leave off, therefore, Since in a net I seek to hold the wind. Who list her hunt, I put him out of doubt, As well as I, may spend his time in vain. And graven with diamonds in letters plain There is written, her fair neck round about, "Noli me tangere, for Caesar's I am, And wild for to hold, though I seem tame."
Work: "Whoso list to hunt" Author: Sir Thomas Wyatt Date: 1530s (1503-1542) Significance: This poem describes a chase for a woman in which the speaker is at the back of pack. There is suspicion that this poem refers to Anne Boleyn, in whom Henry VIII became interested in in 1526. This is typical of Wyatt's poems in which love is transient and embittering. Wyatt puts a spin on the traditional Petrarchan sonnet, in which love is a transcendent experience which extends beyond the bounds of life itself.
Ye that pasen by the weye, Abidet a little stounde. Beholdet, all my felawes, Yif any me lik is founde. To the tre with nailes thre Wol fast I hange bounde; With a spere all thoru my side To mine herte is made a wounde.
Work: "Ye That Pasen by the Weye" Author: unknown Date: unknown Significance: This poem is a meditation on Christ hanging on the Cross.
What guyle is this, that those her golden tresses, She doth attyre under a net of gold: And with sly skill so cunningly them dresses, That which is gold or heare, may scarse be told? Is it that mens frayle eyes, which gaze too bold, She may entangle in that golden snare: And being caught may craftily enfold Theyr weaker harts, which are not wel aware? Take heed therefore, myne eyes, how ye doe stare Henceforth too rashly on that guilefull net, In which if ever ye entrapped are, Out of her bands ye by no means shall get. Fondnesse it were for any being free, To covet fetters, though they golden bee.
Work: Amoretti Author: Edmund Spenser Date: 1595 Significance: There is a hunting motif that is present throughout this poem; this sonnet mentions that men who stare at her het metaphorically trapped in her beauty. He warns others to stay away, because freedom is better than being "trapped" by her. This sonnet plays on the idea of the male hunter and the female prey by reversing it and making the female the hunter.
Happy ye leaves when as those lilly hands, Which hold my life in their dead doing might, Shall handle you and hold in loves soft bands, Lyke captives trembling at the victors sight. And happy lines, on which with starry light, Those lamping eyes will deigne sometimes to look And reade the sorrowes of my dying spright, Written with teares in harts close bleeding book. And happy rymes bath'd in the sacred brooke Of Helicon whence she derived is, When ye behold that Angels blessed looke, My soules long lacked foode, my heavens blis. Leaves, lines, and rymes, seeke her to please alone, Whom if ye please, I care for other none.
Work: Amoretti Author: Edmund Spenser Date: 1595 Significance: This first sonnet shows the speaker talking to his poems as they are given to his beloved. The pomes are like the conquests of battle. Her eyes are described as being the source of light to read these. The speaker suggests that the sonnets are composed privately in his heart but he will show them to us, although their only aim is to please her.
Men call you fayre, and you doe credit it, For that your selfe ye dayly such doe see: But the trew fayre, that is the gentle wit, And vertuous mind, is much more praysd of me. For all the rest, how ever fayre it be, Shall turne to nought and loose that glorious hew: But onely that is permanent and free From frayle corruption, that doth flesh ensew. That is true beautie: that doth argue you To be divine and borne of heavenly seed: Deriv'd from that fayre Spirit, from whom al true And perfect beauty did at first proceed. He onely fayre, and what he fayre hath made: All other fayre, lyke flowres, untymely fade.
Work: Amoretti Author: Edmund Spenser Date: 1595 Significance: This sonnet is a neoplatonic poem that claims the idea that physical beauty with fade. Wit and the mind is what will linger on after beauty is long gone.
Of this worlds Theatre in which we stay, My love like the Spectator ydly sits Beholding me that all the pageants play, Disguysing diversly my troubled wits. Sometimes I joy when glad occasion fits, And mask in myrth lyke to a Comedy: Soone after when my joy to sorrow flits, I waile and make my woes a Tragedy. Yet she beholding me with constant eyes, Delights not in my merth nor rues my smart: But when I laugh she mocks, and when I cry She laughes and harden evermore her hart. What then can move her? if nor merth nor mone, She is no woman, but a sencelesse stone.
Work: Amoretti Author: Edmund Spenser Date: 1595 Significance: This sonnet plays with the motifs of the comedy and the tragedy; the speaker plays both comedic and tragic parts in speaking about his lover. The female that he is in love with is very unresponsive to his moves.
Lyke as a huntsman after weary chace, Seeing the game from him escapt away, Sits downe to rest him in some shady place, With panting hounds beguiled of their pray: So after long pursuit and vaine assay, When I all wear had the chace forsooke, The gentle deare returnd the selfe-same way, Thinking to quench her thirst at the next brooke. There she beholding me with mylder looke, Sought not to fly, but fearelesse still did bide: Till I in hand her yet halfe trembling tooke, And with her owne goodwill hir fyrmely tyde. Strange thing me seemd to see a beast so wyld, So goodly wonne with her owne will beguyld.
Work: Amoretti Author: Edmund Spenser Date: 1595 Significance: This sonnet is an adaptation of "Whoso list to hunt" by Sir Thomas Wyatt. This sonnet returns to the hunting motif that has been established throughout the poem.
Having this day my horse, my hand, my lance Guided so well that I obtained the prize, Both by the judgment of the English eyes And of some sent from that sweet enemy France; Horsemen my skill in horsemanship advance; Townfolks my strength; a daintier judge applies His praise to sleight, which from good use doth rise; Some lucky wits impute it but to chance; Others, because of both sides I do take My blood from them who did excel in this, Think Nature me a man of arms did make. How far they shoot awry! The true cause is, Stella looks on, and from her heavenly face Sent forth the beams which made so fair my race.
Work: Astrophil and Stella Author: Sir Philip Sydney Date: 1590s (1591, 1598) Significance:
Night hath closed all in her cloak, Twinkling stars love-thoughts provoke, Danger hence good care doth keep, Jealousy itself doth sleep: Take me to thee, and thee to me, "No, no, no, no, my dear, let be."
Work: Astrophil and Stella Author: Sir Philip Sydney Date: 1590s (1591, 1598) Significance: The second stanza of the fourth song provokes thoughts of love, danger and jealousy sleep.
That you heard was but a mouse, Dumb sleep holdeth all the house; Yet asleep methinks they say, "Young folds, take time while you may." Take me to thee, and thee to me, "No, no, no, no, my dear, let be."
Work: Astrophil and Stella Author: Sir Philip Sydney Date: 1590s (1591, 1598) Significance: The speaker claims that time is threatening to make him and Stella wait a long to him to be together in this way again. They will have to wait a long time until they have another chance. This is essentially a proposition poem.
Your words, my friend (right healthful caustics), blame My young mind marred, whom Love doth windlass so, That mine own writings like bad servants show My wits quick in vain thoughts, in virtue lame; That Plato I read for nought, but if he tame Such coltish gyres, that to my birth I owe Nobler desires, least else that friendly foe, Great Expectation, wear a train of shame. For since mad March great promise made of me, If now the May of my years much decline, What can be hoped my harvest time will be? Sure you say well; your wisdom's golden mine Dig deep with learning's spade; now tell me this: Hath this world ought so fair as Stella is?
Work: Astrophil and Stella Author: Sir Philip Sydney Date: 1590s (1591, 1598) Significance: The speaker is talking to a friend who has told him that love is just jerking him around. Great things are expected of the speaker because he is the oldest son of an important family.
This small light the moon bestows Serves thy beams but to disclose, So to raise my hap more high; Fear not else, non can us spy: Take me to thee, and thee to me, "No, no, no, no, my dear, let be."
Work: Astrophil and Stella Author: Sir Philip Sydney Date: 1590s (1591, 1598) Significance: The speaker tries to convince Stella by telling her that there is only a little light (the light of the moon), so no one will be able to see them and their "activities."
Better place no wit can find, Cupid's yoke to loose or bind; These sweet flowers on fine bed, too, Us in their best language woo: Take me to thee, and thee to me, "No, no, no, no, my dear, let be."
Work: Astrophil and Stella Author: Sir Philip Sydney Date: 1590s (1591, 1598) Significance: The third stanza talks about how the speaker and his lover should do Cupid's deeds. The flowers encourage them to their love-making.
It is most true that eyes are formed to serve The inward light, and that the heavenly part Ought to be king, from whose rules who de swerve, Rebels to Nature, strive for their own smart. It is most true, what we call Cupid's dart An image is, which for ourselves we carve; And, fools, adore in temple of our heart, Till that good god make church and churchman starve. True, that true beauty virtue is indeed, Whereof this beauty can be but a shade, Which elements with mortal mixture breed; True, that on earth we are but pilgrims made, And should in soul up to our country move: True, and yet true that I must Stella love.
Work: Astrophil and Stella Author: Sir Philip Sydney Date: 1590s (1591, 1598) Significance: There is a repetition of the word "true" throughout the stanza; it signifies that the stanza is a concession. There is a distinction made between spiritual and physical beauty. Plays with the ideas of idolatry and makes a contrast between our hearts and physical churches. The speaker talks about misguided love as a false kind of religion. In the 3rd quatrain, virtue is seen as comprising true beauty (this is a neoplatonic truth). There is a concession throughout that our body will die and our souls will go to heaven.
Only joy, now here you are, Fit to hear and ease my car; Let my whispering voice obtain Sweet reward for sharpest pain: Take me to thee, and thee to me. "No, no, no, no, my dear, let be."
Work: Astrophil and Stella Author: Sir Philip Sydney Date: 1590s (1591, 1598) Significance: This is the first stanza of the fourth song, and it focuses on the how the speaker and his lover, Stella, are together. He says she must stay and ease his pain, and she says no.
Woe to me, and do you swear Me to hate? But I forbear. Cursed be my destines all, That brought me so high to fall: Soon with my death I will please thee. "No, no, no, no, my dear, let be."
Work: Astrophil and Stella Author: Sir Philip Sydney Date: 1590s (1591, 1598) Significance: This is the last stanza of the fourth song, and it shows that the speaker finally recognizes that he is being rejected by Stella.
Who will in fairest book of Nature know How Virtue may best lodged in beauty be, Let him but learn of Love to read in thee, Stella, those fair lines, which true goodness show. There shall he find all vices' overthrow, Not by rude force, but sweetest sovereignty Of reason, from whose light those night-birds fly; That inward sun in thine eyes shineth so. And not content to be Perfection's heir Thyself, dost strive all minds that way to move, Who mark in thee what is in thee most fair. So while thy beauty draws the heart to love, As fast thy Virtue bends that love to good; "But ah," Desire still cries, "give me some food."
Work: Astrophil and Stella Author: Sir Philip Sydney Date: 1590s (1591, 1598) Significance: This sonnet works with the neoplatonic tradition that beauty is the outward representation of virtue. The stanza is making a play on the word "lines," because it stands both for words and for Stella's features. The stanza works with the idea that beauty should bend the lover's eyes to see virtue and good.
My mouth doth water, and my breast doth swell, My tongue doth itch, my thoughts in labor be; Listen then, lordings, with good ear to me, For of my life I must a riddle tell. Towards Aurora's court a nymph doth dwell, Rich in all beauties which man's eye can see, Beauties so far from reach of words, that we Abase her praise, saying she doth excel: Rich in the treasure of deserved renown, Rich in the riches of a royal heart, Rich in those gifts which give th' eternal crown; Who though most rich in these and every part Which make the patents of true worldly bliss, Hath no misfortune, but that Rich she is.
Work: Astrophil and Stella Author: Sir Philip Sydney Date: 1590s (1591, 1598) Significance: This stanza compares the nymph in Aurora's court to Lady Rich, who was the real-life lover of Sir Philip Sydney. The stanza plays with the motif of Lord Rich, and he laments on how his lover is Lord Rich's wife.
I on my horse, and Love on me doth try Our horsemanships, while by strange work I prove A horseman to my horse, a horse to Love; And now man's wrongs in me, poor beast, descry. The reins wherewith my rider doth me tie Are humbled thoughts, which bit of reverence move, Curbed in with fear, but with gilt boss above Of hope, which makes it seem far to the eye. The wand is will; thou, Fancy ,saddle art, Girt fast by Memory; and while I spur My horse, he spurs with sharp desire my heart; He sits me fast, however I do stir, And now hath made me to his hand so right That in the manage myself takes delight.
Work: Astrophil and Stella Author: Sir Philip Sydney Date: 1590s (1591, 1598) Significance: This stanza focuses on the way that love is controlling the speaker in the same way that the speaker controls his horse. This shows that the speaker is not very happy about being enslaved to love as he sees it. His memory and his memory tie Love's saddle onto him.
In martial sports I have my cunning tried, And yet to break more staves did me address; While with the people's shouts, I must confess, Youth, luck, and praise even filled my veins with pride. When Cupid having me his slave descried In Mars's livery, prancing in the press, "What now, Sir Fool," said he, "I would no less; Look here, I say." Looked, and Stella spied, Who hard by made a window sent forth light. My heart then quaked, then dazzled were mine eyes, One hand forgot to rule, th' other to fight. Nor trumpets' sound I heard, nor friendly cries; My foe came on, and beat the air for me Til that her blush taught me my shame to see.
Work: Astrophil and Stella Author: Sir Philip Sydney Date: 1590s (1591, 1598) Significance: This stanza occurs when the speaker is at a race and Cupid comes to visit him; Cupid shows him Stella. The speaker forgets to start the race because he is looking at Stella. This stanza plays around with different motifs.
A strife is grown between Virtue and Love, While each pretends that Stella must be his: Her eyes, her lips, her all, saith Love, do this, Since they do wear his badge, most firmly prove. But Virtue this that title doth disprove: That Stella (O dear name) that Stella is That virtuous sou, sure heir of heavenly bliss; Not this fair outside, which our hearts doth move. And therefore, though her beauty and her grace Be Love's indeed, in Stella's self he may By no pretence claim any manner place. Well, Love, since this demur our suit doth stay, Let Virtue have that Stella's self; yet thus, That Virtue but that body grant to us.
Work: Astrophil and Stella Author: Sir Philip Sydney Date: 1590s (1591, 1598) Significance: This stanza talks about how physical beauty has the power to woo us, but Stella's virtue is her true beauty. However, the speaker is on love's side; virtue's argument is right but the speaker will choose to side with love. The speaker claims that virtue can take the soul, but he wants Stella's body. The speaker is giving in to love and to Stella's physical beauty.
Loving in truth, and fain in verse my love to show, That the dear She might take some pleasure of my pain, Pleasure might cause her read, reading might make her know, Knowledge might pity win, and pity grace obtain, I sought fit words to paint the blackest face of woe, Studying inventions fine, her wits to entertain, Oft turning others' leaves, to see if thence would flow Some fresh and fruitful showers upon my sunburned brain. But words came halting forth, wanting Invention's stay; Invention, Nature's child, fled step-dame Study's blows, And others' feet still seemed but strangers in my way. Thus great with child to speak, and helpless in my throes, Bitting my truant pen, beating myself for spit, "Fool," said my Muse to me, "look in thy heart and write."
Work: Astrophil and Stella Author: Sir Philip Syndey Date: 1590s (1591, 1598) Significance: The first stanza is written in iambic hexameter, the rhyme scheme is ababababcdcdee. The main verb appears in line 5, the first part of the stanza builds up to the verb "sought." The repetition of words in the first part of the stanza serves as stepping stones to the main verb. Makes a pun on the word "invention" because it would give his words ability to stand on their own feet; he is punning "feet" in the metrical sense, because he can't make himself fit others' forms. Inventions would be one of the first things that he studied in rhetoric (hints to classical words/ideas).
Said he who knew [how] [the] origin [of] men from far [time] [to] recount, said that the Almighty [the] earth wrought beauty-bright plain as water surrounds [it] set the triumph-glorious sun and moon beacons as light [for] land-dwellers and adorned [of] earth [the] grounds [with] limbs and leaves, life also [he] created [of] kinds [for] each [of] those who living move about.
Work: Beowulf ("The Poet's Song in Heorot") Author: Christian poet (?) Date: ~520 Significance: The poem speaks of a benign creator who creates things for human beings. This reflects the idea of the Creation and the Fall. Grendel is a descendant of Cain, the first person to commit homicide; this directly ties in with the Creation and Fall themes of the poem.
Open the temple gates unto my love, Open them wide that she may enter in, And all the postes adorne as doth behove, And all the pillours deck with girlands trim, Fort he recyve this Saynt with honour dew, That commeth in to you. With trembling steps and humble reverence, She commeth in, before th'almighties vew, Of her ye virgins learne obedience, When so ye come into those holy places, To humble your proud faces: Bring her up to th'high altar, that she may The sacred ceremonies there partake, The which do endless matrimony make, And let the roring Organs loudly play The praises of the Lord in lively notes, The whiles with hollow throates The Choristers the joyous Antheme sing, That all the woods may answere and theyr eccho ring. Behold whiles she before the altar stands Hearing the holy priest that to her speakes And blesseth her with his two happy hands, How the red roses flush up in her cheekes, And the pure snow with goodly vermill stayne, Like crimsin dyde in grayne, That even th'Angels which continually, About the sacred Altare doe remaine, Forget their service and about her fly, Ofte peeping into her face that seemes more fayre, That more they on it stare. But her sad eyes still fastened on the ground, Are governed with goodly modesty, That suffers not one looke to glaunce awry, Which may let in a little thought unsownd. Why blush ye love to give to me your hand, Sing ye sweet Angels, Alleluya sing, That all the woods may answere and your eccho ring.
Work: Epithalamion Author: Edmund Spenser Date: 1595 Significance: In these two stanzas, the bride and groom go to the church to get married. The church is a cross between the Greek temple of traditional epithalamions and the Jewish temple/Christian tradition. He is using different phrases to have his bride admitted to the church; the bride is humnle and reverent, very obedient as she enters the church. There are angels flying around who admired God but now find themselves stopping to admire her. This reflects the idea that a woman is beautiful because she is made in the image of God.
Tell me ye merchants daughters did ye see So fayre a creature in your towne before, So sweet, so lovely, and so mild as she, Adornd with beautyes grace and vertues store, Her goodly eyes lyke Saphyres shining bright, Her forehead yvory white, Her cheekes lyke apples which the sun hath rudded, Her lips lyke cherryes charming men to byte, Her brest like to a bowle of creame uncrudded, Her paps lyke lyllies budded, Her snowie necke lyke to a marble towre, And all her body like a pallace fayre, Ascending uppe with many a stately stayre, To honors seat and chastities sweet bowre. Why stand ye still ye virgins in amaze, Upon her so to gaze, Whiles ye forget your former lay to sing, To which the woods did answer and your eccho ring.
Work: Epithalamion Author: Edmund Spenser Date: 1595 Significance: In this stanza physical beauty is described in a very graphic way, and it is described as something to be praised. The bride is so beautiful that all of the maidens stop singing because they are so entranced with the bride's beauty.
And thou great Juno, which with awful might The lawes of wedlock still dost patronize, And the religion of the faith first plight With sacred rites hast taught to solemnize: And eeke for comfort often called art Of women in their smart, Eternally bind thou this lovely band, And all thy blessings unto us impart. And thou glad Genius, in whose gentle hand, The bridale bowre and geniall bed remaine, Without blemish or staine, And the sweet pleasures of theyr loves delight With secret ayde doest succour and supply, Till they bring forth the fruitfull progeny, Send us the timely fruit of this same night. And thou fayre Hebe, and thou Hymen free, Grant that it may so be. Til which we cease your further prayse to sing, Ne any woods shall answer, nor your Eccho ring.
Work: Epithalamion Author: Edmund Spenser Date: 1595 Significance: In this stanza, Juno is being invoked as the patron of married women (Juno was a wife who was married to Zeus and suffered a lot) and childhood. The stanza invokes many of the patronesses of childbirth.
Early before the worlds light giving lampe, His golden beame upon the hils doth spred, Having disperst the nights unchearefull dampe, Doe ye awake, and with fresh lustyhed Go to the bowre of my beloved love, My truest turtle dove, Bid her awake; for Hymen is awake, And long since ready forth his maske to me, With his bright Tead that flames with many a flake, And many a bachelor to waite on him, In theyr fresh garments trim. Bid her awake therefore and soon her dight, For lo the wished day is come at last, That shall for al the paynes and sorrowes past, Pay to her usury of long delight: And whylest she doth her dight, Doe ye to her of joy and solace sing, That all the woods may answer and your Eccho ring.
Work: Epithalamion Author: Edmund Spenser Date: 1595 Significance: The second stanza starts before dawn; the muses are awake and they bring accompaniment with them. Attendant males accompany Hymen, the God of Marriage. The speaker talks about how he will be rewarded for his hardship at the end of the day (aka he will be rewarded for abstaining from sex).
But if ye saw that which no eyes can see, The inward beauty of her lively spright, Granisht with heavenly guifts of high degree, Much more then would ye wonder at that sight, And stand astonisht lyke to those which red Medusaes mazeful hed. There dwels sweet love and constant chastity, Unspotted fayth and comely womanhood, Regard of honour and mild modesty, There vertue raynes as Queene in royal throne, And giveth lawes alone. The which the base affections doe obay, And yeeld theyr services unto her will, Ne thought of thing uncomely ever may Thereto approach to tempt her mind to ill. Had ye once seene these her celestial threasures, And revealed pleasures, Then would ye wonder and her prayses sing, That all the woods should answer and your Echo ring.
Work: Epithalamion Author: Edmund Spenser Date: 1595 Significance: This stanza compares the bride to Medusa but in a positive way; the bride is described as being Medusa's opposite. The stanza focuses on the difference in the perception of inner and outer beauties.
Who is the same, which at my window peepes? Or whose is that faire face, that shines so bright, Is it not Cinthia, she that never sleepes, But walkes about high heaven al the night? O fayrest goddesse, do thou not envy My love with me to spy: For thou likewise didst love, though now unthought, And for a fleece of woll, which privily, The Latmian shepard once unto thee brought, His pleasures with thee wrought. Therefore to us be favorable now; And sith of wemens labours thou hast charge, And generation goodly dost enlarge, Encline thy will t'effect our wishfull vow, And the chast wombe informe with timely seed, That may our comfort breed: Till which we cease our hopefull hap to sing, Ne let the woods us answer, nor our Eccho ring.
Work: Epithalamion Author: Edmund Spenser Date: 1595 Significance: This stanza makes reference to the moon goddess. This stanza occurs after the lovemaking is done. Cinthia (the moon goddess) is also the goddess of chastity and childbirth, and the speaker asks for her help in getting his wife pregnant.
And ye high heavens, the temple of the gods, In which a thousand torches flaming bright Doe burne, that to us wretched earthly clods, In dreadful darknesse lend desired light; And all ye powers which in the same remayne, More then we men can fayne, Poure our your blessing on us plentiously, And happy influence upon us raine, That we may raise a large posterity, Which from the earth, which they may long possesse, With lasting happinesse, Up to your haughty pallaces may mount, And for the guerdon of theyr glorious merit May heavenly tabernacles there inherit, Of blessed Saints for to increase the count. So let us rest, sweet love, in hope of this, And cease till then our tymely joys to sing, The woods no more us answer, nor our eccho ring.
Work: Epithalamion Author: Edmund Spenser Date: 1595 Significance: This stanza plays with the platonic and neoplatonic mythology, the idea that the stars and heavens contained knowledge. There is the idea present that souls come down from the heavens and inhabit human bodies, then return to the heavens when the human bodies die. This last stanza makes us aware of the the temporary nature of human life; the poem serves as an eternal monument to their wedding/love.
Ye learned sister which have oftentimes Beene to me ayding, others to adorne: Whom ye thought worthy of your gracefull rymes, That even the greatest did not greatly scorne To heare theyr names sung in your simple layes, But joyed in theyr prayse. And when ye list your owne mishaps to mourne, Which death, or love, or fortunes wreck did rayse, Your strong could soone to sadder tenor turne, And teach the woods and waters to lament Your dolefull dreriment. Now lay those sorrowfull complaints aside, And having all your heads with girland crownd, Helpe me mine owne loves prayses to resound, Ne let the same of any be envide: So Orpheus did for his owne bride, So I unto my selfe alone will sing, The woods shall to me answer and my eccho ring.
Work: Epithalamion Author: Edmund Spenser Date: 1595 Significance: The short lines throughout change the rhythm of the stanza. The speaker invokes the muses, who inspire certain kinds of activities; this could reference both the muses at large or his own personal muses. The muses help him to write simple but meaningful poetry, they help him to praise others around him. The speaker claims that nature will respond to and encourage what he sings. He wants to sing a positive sing, not one of mourning.
1) - Yea, Everyman, and to us declare If ye be disposed to go anywither. For weet you well, we will live and die together. - In wealth and woe we will with you hold, For over his kind a man may be bold. 2) No, by Our Lady! I have the cramp in my toe: Trust not to me. For, so God me speed, I will deceive you in your most need. 3) It availeth you not us to 'tice. Ye shall have my maid with all my heart: She loveth to go to feasts, there to be nice, And to dance, and abroad to start. I will give her leave to help you in that journey, If that you and she may agree.
Work: Everyman Author: unknown Date: after 1485 Significance: After Fellowship abandons him, Everyman decides to seek help from Kindred and Cousin. Kindred and Cousin make the same promises that Fellowship did; however, Cousin tells everyman not to trust him and that he will only deceive Everyman. In the same way, Kindred (just like Fellowship) backs out and only offers Everyman a woman. This signifies the idea in the play that human beings will not be the ones that will go with you to the grave; they will abandon Everyman in his time of most need.
1) Ah, Jesus, is all come hereto? Lo, fair words maketh fools fain: They promise and nothing will do, certain. My kinsmen promised me faithfully For to abide with my steadfastly, And now fast away do they flee. Even so Fellowship promised me. What friend were best me of to provide? I lose my time here longer to abide. Yet in my mind a thing there is: All my life I have loved riches; If that my Good now help me might, He would make my heart full of light. I will speak to him in this distress. Where art thou, my Goods and riches? 2) Sir, and ye in the world have sorrow or adversity, That I can help you to remedy shortly. 3) Nay, not so, I am too brittle, I may not endure. I will follow no man one foot, be ye sure. 4) That is thy damnation, without leasing, For my love is contrary to the love everlasting. But if thou had me loved moderately during, As to the poor to give part of me, Then shouldest thou not in this doler be, Nor in this great sorrow and care. 5) Nay, Everyman, I say no. As for a while I was lent thee; A season thou hast had me in prosperity. My condition is man's soul to kill; If I save one, a thousand I do spill. Weenest thou that I will follow thee? Nay, from this world, not verily.
Work: Everyman Author: unknown Date: after 1485 Significance: After human beings abandon him, Everyman turns to Goods/riches to accompany him on his journey. Everyman is told by Goods that Goods can only help with earthly and worldly problems. The intense love and devotion that Everyman expressed for riches throughout his life is contrary to the notion of loving God; Goods have essentially betrayed Everyman, because Goods's only job is to kill man's soul.
Everyman, hearken what I say: Go to Priesthood, I you advise, And receive of him, in any wise, The holy sacrament and ointment togither; Then shortly see ye turn again hither: We will all abide you here.
Work: Everyman Author: unknown Date: after 1485 Significance: Everyman goes to receive the holy sacrament and ointment, which is an external sign instituted by Christ in order to give grace. Everyman has to be able to use his Five-Wits (senses) to receive the sacrament because it requires experiencing the external signs. These personifications focus on what are the essential parts of a human being (Beauty, Strength, Discretion, the Fit-Wits). The play dramatizes the sacraments/priesthood and the falling away of these features as Everyman goes toward the grave.
On thee thou must take a long journay: Therefore thy book of count with thee thou bring, For turn again thou cannot by no way. And look thou be sure of thy reckoning, For before God thou shalt answer and shew Thy many bad deeds and good but a few - How thou hast spent thy life and in what wise, Before the Chief Lord of Paradise. Have ado that we were in that way, For weet thou well thou shalt make none attornay.
Work: Everyman Author: unknown Date: after 1485 Significance: Everyman is informed that he will die and his soul will have to answer for his life; he will have to give a reckoning of his life. It reflects the idea that life is a journey/pilgrimage, and the reckoning has to do with good deeds and bad deeds. The play takes the focus off of the priest in the church and instead focuses on individuals as they account for their lives.
-Then of myself I was ashamed, And so I am worthy to be blamed: Thus may I well myself hate. Of whom shall I now counsel take? I think that I shall never spped Till that I go to my Good Deed. But alas, she is so weak That she can neither go nor speak. Yet I will venture on her now. - Here I lie, cold in the ground: Thy sins hath me sore bound That I cannot stear.
Work: Everyman Author: unknown Date: after 1485 Significance: Everyman realizes that he is to blame for his failure to love God properly and perform Good Deeds. He is ashamed of himself but decides that he will make an attempt to ask Good Deeds to assist him on his journey. Good Deeds is weak and is bound to the ground by the weight of Everyman's sins.
1) My true friend, show to me your mind. I will not forsake thee to my life's end In the way of good company. 2) And so ye shall evermore. For, in faith, and thou go to hell, I will not forsake thee by the way. 3) This is matter indeed! Promise is duty - But, and I should take such a voyage on me, I know it well, it should be to my pain. Also it maketh me afeard, certain. But let us take counsel here, as well as we can - For your words would fear a strong man. 4) Now in good faith, I will not that way. But, and thou will murder or any man kill, In that I will help thee with a good will. 5) Alack, shall we thus depart indeed - Ah, Lady, help! - without any more comfort? Lo, Fellowship forsaketh me in my most need! For help in this world whither shall I resort? Fellowship herebefore with me would merry make, And now little sorrow for me doth he take. It is said, "In prosperity men friends may find Which in adversity be full unkind." Now whither for succor shall I flee, Sith that Fellowship hath forsaken me? To my kinsmen I will, truly, Praying them to help me in my necessity. I believe that they will do so, For kind will creep where it may not go. I will go 'say - for yonder I see them - Where be ye now my friends and kinsmen.
Work: Everyman Author: unknown Date: after 1485 Significance: Everyman seeks help from Fellowship on his journey and Fellowship claims that he will go to Hell and back for Everyman. However, Fellowship goes back on his promise and says that he will only help Everyman in situations such as drinking or committing murder. Everyman therefore learns that friends are of no account and one cannot rely on them.
1) O glorious fountain that all uncleanness doth clarify, Wash from me the spots of vice unclean, That on me no sin may be seen. I come with Knowledge for my redemption, Redempt with heart and full contrition, For I am commanded a pilgrimage to take And great accounts before God to make. Now I pray you, Shrift, mother of Salvation, Help my Good Deeds for my piteous exclamation. 2) Thanked be God for his gracious work, For now I will my penance begin. This hath rejoiced and lighted my heart, Though the knots be painful and hard within.
Work: Everyman Author: unknown Date: after 1485 Significance: Knowledge appears to Everyman; Everyman acknowledges his sin and repents for it, which represents a conversion moment in the text. Knowledge takes Everyman to the House of Salvation (never explicitly called a church), where Everyman acknowledges his sin and agrees to take his penance. This allows Good Deeds to rise off of the floor and become of value in Everyman's journey. This represents the focus on the individual's journey to salvation, less focus on the church and the priest.
Alas, I may well weep with sighs deep: Now I have no manner of company To help me in my journey and me to keep. And also my writing is full unready - How shall I do now for the excuse me? I would to God I had never be geet! To my soul a full great profit it had be. For now I fear pains huge and great. The time passeth: Lord, help, that all wrought! For though I mourn, it availeth nought. The day passeth and is almost ago. I wot not well what for to do. To whom were I best my complaint to make? What and I to Fellowship therof spake, And showed him of this sudden chance? For in him is all mine affiance, We have in the world so many a day Be good friends in sport and play. I see him yonder, certainly. I trust that he will bear me company. Therefore to him will I speak to ease my sorrow.
Work: Everyman Author: unknown Date: after 1485 Significance: The play contains many soliloquies, and this is the first instance of that. Everyman decides that he will call on Fellowship to help him in his journey to his reckoning before God, and Fellowship claims that he will go to Hell and back for Everyman.
O Death, thou comest when I had thee least in mind. In thy power it lieth me to save: Yet of my good will I give thee, if thou will be kind, Yea, a thousand pound shalt thou have - And defer this matter till another day.
Work: Everyman Author: unknown Date: after 1485 Significance: The poem focuses on the good and bad deeds of individual people and that they are eventually forced to provide a reckoning for their deeds. Everyman asks God for more years because he has not been paying attention to God and therefore his good deeds aren't ready yet. He will give anything to God, but in the end earthly wealth does not matter because God will wait for no one.
Poor soul, the center of my sinful earth, Lord of these rebel powers that thee array, Why dost thou pine within and suffer dearth, Painting thy outwards walls so costly gay? Why so large cost, having so short a lease, Dost tho upon thy fading mansion spend? Shall worms, inheritors of this excess, Eat up thy charge? Is this thy body's end? Then, soul, live thou upon thy servant's loss, And let that pine to aggravate thy store; By terms divine in selling hours of dross; Within be fed, without be rich no more. So shalt thou feed on death, that feeds on men, And death once dead, there's no more dying then.
Work: Sonnets Author: Shakespeare Date: 1609 Significance: Lines 1-4 address the speaker's own soul (use of the word "my"), and this represents a microcosm vs. macrocosm (with the human being represented as the microcosm of the world). The "sinful earth" refers to the body and bodily actions; the immortal soul is being served by the mortal body. The soul is referred to as the "Lord" of the body, while the body is the revel that makes demands on the soul. The soul is like the resident of the body, the speaker uses the metaphor of the house. Lines 5-8 talk about how the soul is renting the body because the body is a very short lease. The soul lavishes too much cost on something that won't last that long, worms will eat the body after it is dead. The sonnet suggests to spend more time on the soul and less time on the body; let the body pine to make heavier to store of one's soul. The last couplet is a standard Christian idea.
Shall I compare thee to a summer's day? Thou art more lovely and more temperate: Rough winds do shake the darling buds of May, And summer's lease hath all too short a date; Sometime too hot the eye of heaven shines, And often is his gold complexion dimmed; And every fair from fair sometime declines, By chance or nature's changing course untrimmed. But thy eternal summer shall not fade, Nor lose possession of that fair thou ow'st; Nor shall death brag thou wander'st in his shade, When in eternal lines to time thou grow'st: So long as men can breathe or eyes can see, So long lives this, and this gives life to thee.
Work: Sonnets Author: Shakespeare Date: 1609 Significance: Lines 1-4 compares the subject to a summer's day and claims that the young man in question is better than a summer's day. Lines 5-8 claim that sometimes the sun is too hot, but then the clouds come up and so the sun does not last long enough. Summer itself does not last, unlike the subject of the sonnet. The sonnet makes the generalization that every beautiful thing stops being beautiful at some point. Lines 9-12 claim that the subject's beauty will not fade or be lost; the subject does not wander in death's shadow because this poem will last forever. The last two lines claim that the subject of the poem will lever forever BUT the issue is that we don't know exactly who the subject is.
When I do count the clock that tells the time And see the brave day sunk in hideous night, When I behold the violet past prime And sable curls all silvered o'er with white, When lofty trees I see barren of leaves, Which erst from heart did canopy the herd And summer's green all girded up in sheaves Borne on the bier with white and bristly beard: Then of the beauty I do question make That thou among the wastes of time must go, Since sweets and beauties do themselves forsake, And die as fast as they see others grow, And nothing 'gainst Time's scythe can make defense Save breed, to brave him when he takes thee hence.
Work: Sonnets Author: Shakespeare Date: 1609 Significance: The alliteration in the first line of the sonnet mimics a clock (c sound and t sound). The first four lines of the sonnet count the time in minutes, days, seasons, and a lifespan; playing with the idea of the multiple ways that time can manifest itself. Lines 5-8 mark the end of the summer season and the beginning of fall and the harvest season. The speaker compares the bier to a body with mention of the white and bristly beard; the wheat looks like a body in its bundle. Lines 9-12 question youthful beauty, and claims that human beings must accompany the things that time lays waste to. The last two lines claim that the only defense to time and the only way that you can fight time is through having children/breeding.
When my love swears that she is made of truth, I do believe her, though I know she lies, That she might think me some untutored youth, Unlearned in the world's false subtleties. Thus vainly thinking that she thinks me young, Although she knows my days are past the best, Simply I credit her false-speaking tongue: On both sides thus is simple truth suppressed. But wherefore says she not she is unjust? And wherefore say not I that I am old? Oh, love's best habit is in seeming trust, And age in love loves not to have years told. Therefore I lie with her and she with me, And in our faults by lies we flattered be.
Work: Sonnets Author: Shakespeare Date: 1609 Significance: There is a possible sexual pun on being unfaithful in lines 1-2, the speaker pretends to believe his woman even though he knows that she lies. The woman thinks that he is young and naive enough to believe her (lines 3-4); the speaker foolishly and vainly tries to believe that he is young, but they both really know the truth. The simple truth is suppressed, and the speaker questions why he and his lover lie to each other. The sonnet makes the claim that love works best when two people pretend to trust each other.
Let me not to marriage of true minds Admit impediments; love is not love Which alters when it alteration finds, Or bends with the remover to remove: O, no, it is an ever-fixed mark, That looks on tempests and is never shaken; It is the star to every wand'ring bark, Whose worth's unknown, although his height be taken. Love's not Time's fool, though rosy lips and cheeks Within his bending sickle's compass come; Love alters not with his brief hours and weeks, But bears it out even to the edge of doom. It this be error and upon me proved, I never writ, nor no man ever loved.
Work: Sonnets Author: Shakespeare Date: 1609 Significance: There is a rhetorical nature to the sonnet that is achieved with the repetition of similar words. The sonnet focuses on the impediments to marriage: restrictions on who you can and cannot marry, as well as restriction for someone who took religious vows, infertility/sterility, etc. The first two lines focus on the idea that there are no impediments for the marriage of two minds (not two bodies). True love will not remove affection when something changes (lines 3-4). The sonnet also claims that love is not fooled by time, the only thing under the control of time is age. Love lasts forever, or to the brink of Judgment Day. However, the last two lines claim that this is not a logical argument as much as an assertion.
Like as the waves make towards the pebbled shore, So do our minutes hasten to their end; Each changing place with that which goes before, In sequent toil all forwards do contend. Nativity, once in the main of light, Crawls to maturity, wherewith being crowned, Crooked eclipses 'gainst his glory fight, And Time that gave doth now his gift confound. Time doth transfix the flourish set on youth, And delves the parallels in beauty's brow, Feeds on the rarities of nature's truth, And nothing stands but for his scythe to mow. And yet to times in hope my verse shall stand, Praising thy worth, despite his cruel hand.
Work: Sonnets Author: Shakespeare Date: 1609 Significance: This sonnet compares the moments of life to waves struggling to the shore. The waves are battling each other and getting tangled together. Lines 5-8 make a continuation of the first four lines but then add something new: time that aids a person to maturity now works against him. The course of human life is birth to maturity, and then the time that allowed this to develop claims its part. Lines 9-12 work on the idea that time stops you in your tracks and ruins the beauties of youth. This poem won't stop time but it will allow the subject of the poem to be remembered.
Nor marble nor the gilded monuments Of princes shall outlive this powerful rhyme; But you shall shine more bright in these contents Than unswept stone, besmeared with sluttish time. When wasteful war shall statues overturn, And broils root out the work of masonry, Nor Mars his sword nor war's quick fire shall bur The living record of your memory. 'Gainst death and all-oblivious enmity Shall you pace forth; your praise shall still find room Even in the eyes of all posterity That wear this world out to the ending doom. So, till the judgment that yourself arise, You live in this, and dwell in lovers' eyes.
Work: Sonnets Author: Shakespeare Date: 1609 Significance: This sonnet focuses on the idea of poetry as a monument. This relates to the saying by Horace, "exegi monumentum aere perennius" which means "I have erected a monument more permanent than bronze." There is a shortening of polysyllabic words throughout the sonnet (ex. "powerful). There is a play between the expectation and the actual effect achieved through the contrast between iambic pentameter and the way that a person would actually pronounce the words. There is the idea that the powerful rhyme of the poem is going to outlast any physical monuments. There is enjambment with lines 7-8. The sonnet talks of the devastation that war will wage; it lays waste to everything and destroys the works of masonry (eradicate is a Greek word). Lines 9-12 regards time as something that destroys people just like war destroys the monuments of people. However, this memory of the subject of this poem will live on for all people that come after him. The last lines claim that the subject will live through this poem and be alive in the eyes of lovers until they rise for the dead on Judgment Day.
My mistress' eyes are nothing like the sun; Coral is far more red than her lips' red; If snow be white, why then her breasts are dun; If hairs be wires, black wires grow on her head. I have seen roses damasked, red and white, But no such roses see I in her cheeks; And in some perfumes is there more delight Than in the breath that from my mistress reeks. I love to hear her speak, yet well I know That music hath a far more pleasing sound; I grant I never saw a goddess go; My mistress, when she walks, treads on the ground. And yet, by heaven, I think my love as rare, As any she belied with false compare.
Work: Sonnets Author: Shakespeare Date: 1609 Significance: This sonnet focuses on the old cliches of love/beauty and claims that they don't apply to everybody. This sonnet focuses on making fun of the cliches that are found in other poems.
Th' expense of spirit in a waste of shame Is lust in action; and till action, lust Is perjured, murd'rous, bloody, full of blame, Savage, extreme, rude, cruel, not to trust; Enjoyed no sooner but despised straight; Past reason hunted, and no sooner had, Past reason hated as a swallowed bait On purpose laid to make the taker mad: Mad in pursuit, and in possession so; Had, having, and in quest to have, extreme; A bliss in proof, and proved, a very woe; Before, a joy proposed; behind, a dream. All this the world well knows; yet non knows well To shun the heaven that leads men to this hell.
Work: Sonnets Author: Shakespeare Date: 1609 Significance: This sonnet shows Shakespeare's range in his poems. This poem forces us out the iambic pentameter because it does not flow, and it gives a very harsh feeling to the poem. This sonnet opposes the idea of love being full of promise and hope. The sonnet centers around the act (expense) of lust and breaking oaths (perjured). Lines 5-8 are not quite as fierce as the opening lines; line 5 says that lust is enjoyed then despised immediately. There is a madness in the pursuit and possession of lust. Lines 11-12 contrast bliss and woe, make use of "proof" twice. There is also chiasmus in line 11.
This Pardoner hadde heer as yelow as wex, But smoothe it heeng as dooth a strike of flex; By ounces heenge he lokkes that he hadde, And therewith he his shuldres overspradde, But thinne it lay, by colpons, oon by oon; But hood for jolitee wered he noon, For it was trussed up in his walet: Him thoughte he rood al of the newe jet. Dischevelee save his cappe he rood al bare. Swiche glaring yen hadde he as an hare. A vernicle hadde he sowed upon his cappe, His walet biforn him in his lappe, Bretful of pardon, come from Rome al hoot. A vois he hadde as smal as hath a goot; No beerd hadde he, ne nevere sholde have; As smoothe it was as it were late yshave: I trowe he were a gelding or a mare. But of his craft, fro Berwik into Ware, Ne was ther swich another pardoner; For in his male he hadde a pilwe-beer Which that he saide was Oure Lady veil; He saide he hadde a hobat of the sail That Sainte Peter hadde whan that he wente Upon the see, til Jesu Crist him hente. He hadde a crois of laton, ful of stones, As in a glas he hadde pigges bones, But with thise relikes whan that he foond A poore person dwelling upon lond, Upon a day he gat him more moneye Than that the person gat in monthes twaye; And thus with feined flaterye and japes He made the person and the peple his apes. Be trewely to tellen at the laste, He was in chirche a noble ecclesiaste; Wel coude he rede a lesson and a storye, Bt alderbest he soong an offertorye, For wel he wiste whan that song was songe, He moste preche and wel affile his tonge To winne silver, as he ful wel coude- There he soong the merierly and loude.
Work: The Canterbury Tales, "The General Prologue" Author: Geoffrey Chaucer Date: ~1386 Significance: The Pardoner's fine yellow hair hangs in patches and strands, it is very thin; lack of virility, femininity, and bad blood were all alluded to with blonde hair. He has small eyes (like a rabbit) and a high voice; points to his being effeminate and lacking manhood. The Pardoner is shown as sexually impotent, which could also point to homosexuality (which was not condoned at the time). The Pardoner carries fake relics with him, such as a pillowcase and pigs' bones; the relics were highly regarded in the Middle Ages, but there is no religious "fruit" to the relics that the Pardoner sells. The physical sterility of the Pardoner parallels his religious sterility. Physiognomy: describing a person's moral characteristics through physical description.
For whan I dar noon otherways debate, Thanne wol I stinge him with my tonge smerte In preching, so that he shal nat asterte To been defamed falsly, if that he Hath trespassed to my bretheren or to me. For though I telle nought his propre name, Men shal wel knowe that it is the same By signes and by othere circumstaunces.
Work: The Canterbury Tales, "The Pardoner's Prologue and Tale" Author: Geoffrey Chaucer Date: ~1386 Significance: The Pardoner explains that he uses his pulpit to attack those who criticize him and his work. Chaucer was very concerned about corruption in the church and particularly in regards to pardoners. The Pardoner's actions in this passage showcase some of the corruption that Chaucer was concerned about.
"Goode men," I saye, "take of my wordes keep: If that this boon be wasshe in any welle, If cow, or calf, or sheep, or oxe swelle, That any worm hath ete or worm ystonge, Take water of that welle and wassh his tonge, And it is hool anoon. And ferthermoor, Of pokkes and of scabbe and every soor Shal every sheep be hool that of this welle Drinketh a draughte. Take keep eek that I telle: If that the goode man that the beestes oweth Wol every wike, er that the cok him croweth, Fasting drinken of this welle a draughte - As thilke holy Jew oure eldres taughte - His beestes and his stoor shal mutiplye. "And sire, also it heleth jalousye: For though a man be falle in jalous rage, Lat maken with this water his potage, And nevere shal he more his wif mistriste, Though he the soothe of hir defaute wiste, Al hadde she taken preestes two or three. "Here is a mitein eek that ye may see: He that his hand wol putte in this mitein He shal have multiplying of his grain, Whan he hath sowen, be it whete or otes - So that he offre pens or elles grotes."
Work: The Canterbury Tales, "The Pardoner's Prologue and Tale" Author: Geoffrey Chaucer Date: ~1386 Significance: The Pardoner's fake indulgences do ridiculous things, such as the bones in water making all of the farmer's animals better. The Pardoner explains that he makes a lot of money using these tricks, which shows that he is really only interested in satisfying his own greed by selling fake relics and indulgences to the people he preaches to.
He who this wall foundation with wise thought profoundly considers, and this dark life; he, mature in spirit, from afar often remembers the multitude of violent endings, and utters these words. Where is the steed? Where is the young rider? Where the generous lord? Where the banquet halls? Where the hall joys? Alas, bright cup! Alas, mail-clad warrior! Alas, chieftain's glory. Now is that time departed, darkened under the cover of night as if it never were.
Work: The Wanderer Author: unknown Date: unknown, manuscript ~1000 AD Significance: The Wanderer remembers the past, but looks about and sees that all that is left is winter. This alludes to the idea that everything in the world of the speaker is lent and temporary, nothing lasts forever.
Often the solitary one awaits mercy, Measurere's mildness, even though he, care-full in spirit, across the sea-way long has to stir up with his hands frost-cold sea, journey the exile paths: fate is fully decreed!
Work: The Wanderer Author: unknown Date: unknown, manuscript ~1000 AD Significance: The first five lines of the poem (seen here) are written by the poet who introduces the speaker of the main part of the poem. The speaker is a heroic age gentleman warrior, but he doesn't have Christian wisdom like the original speaker of the poem does. The Wanderer is alone and on the exile path, similar to Beowulf because his lord has also been slain.
Accordingly, cannot become wise, a man before he possess a good portion of years in the world. A wiseman must be patient; he must not be too hot-hearted, nor too hasty to speak, nor too weak a warrior, nor too despairing, nor too timid, or servile, nor too greedy for wealth, and never too eager to boast before he clearly know-- a man must await, when he speaks a boast, until, flushed for action, he clearly know wither the intention of hearts intends to travel.
Work: The Wanderer Author: unknown Date: unknown, manuscript ~1000 AD Significance: The main point of this passage is that you cannot push anything to the extreme because everything is uncertain. Now that the Wanderer's world is falling part he is reflecting on how a main ought to behave.
Therefore, I cannot think, throughout this world, why this spirit of mine should not grow dark, when I the life of noblemen fully consider, how they suddenly gave up hall floor, these proud young retainers, as this middle-earth every single day withers and falls.
Work: The Wanderer Author: unknown Date: unknown, manuscript ~1000 AD Significance: There are many generalizations throughout the poem. The first generalization comes at the end of this section when he considers the life of a nobleman and what he has to go through. The wanderer's lord has been slain and he has now been left by himself, which suggests why he would generalize the life of noblemen in this way.
A wise warrior ought to perceive how terrifying it will be when all the good of this world stands waste, as in many places now, throughout this middle earth, wound about by winds, walls stand, covered with hoar frost, structures swept through by snow. The wine-halls crumble away, their owners lie bereft of happiness, the troop all fallen dead, proud, along the wall. Some war took off, carried onto the way forth; one a bird bore off across the deep sea; another the dusky wolf dismembered in death; another, a tearful in faced noble hid his in an earthen grave.
Work: The Wanderer Author: unknown Date: unknown, manuscript ~1000 AD Significance: This passage starts off with the second generalization of the poem; the Wanderer looks about the English countryside and sees the crumbling remains of the Roman ruins and the foundations of walls that once stood. The poet imagines a pre-Christian world like that of Beowulf in which there is a concept of creation but no afterlife. The Wanderer imagines war, battles, and the remains of the dead men being eaten by animals as he passes through the countryside.
So spoke the one wise in spirit, sat himself apart in thought. Good is he who stays true. Nor should one his resentment too quickly make known from out of his breast, unless he first know the remedy, a nobleman (know) how to perform it vigorously. Well it is for him who seeks mercy, wise in heart, from the Father in heaven. There all our stability abides.
Work: The Wanderer Author: unknown Date: unknown, manuscript ~1000 AD Significance: These last five lines of the poem are again spoken by the original speaker of the poem. The original speaker shows himself to be a wise person imagining the experience of a wanderer or someone who has experienced such destruction. This also shows has a Christian imagining was worked into German contexts in Old English literature.
