poetry

• Who so list AO2:

  • Petrarchan sonnet(ABBA, ABBA, CC). octave is conflict, sestet is resolution.
  • Volta at the sestet.
  • "m" sounds create weary tone (second line)
  • Painful sibilance on "so sore" reflects love sickness (Kleinbach)
  • "Faynting I followe" is a dactylic foot and trochee, connecting to previous line with fricative sounds, despite the line break.
  • Final couplet deviates from Petrarchan form to create finality.
• Who so list AO3/4:

  • Wyatt's 96 love poems were published in 1557, 31 were in Petrarchan form.
  • Courtier of Henry VII, suspected to be involved with Boleyn
  • Conceit of hunting- enjoyed by upper class men
  • Adapted from Petrarch's Rime 190
• Who so list AO5:

  • the development of courtly love "the greatest change in western culture" Pilkington
  • The poem suggests "the multiplicity of social obligations imposed on the courtier poet" Kamholtz
  • In courtly love "the woman is the dominant figure, the man a pupil who must be instructed" Eleanor of Aquitaine
• Sonnet 116 AO2:

  • Starts with a negative, and continues this false definition with the dramatic interruption of "O no".
  • Repetition and anastrophe (achieved with inverted syntax) add to calculated tone
  • "c alliteration on compasse come add a threatening tone.
• Sonnet 116 AO3/4:

  • Reminiscent of a marriage ceremony ("if any of you know cause of just impediment")
  • Part of his sonnets for the fair youth, which had a fair and loving tone
  • Uses north star image, which Tessa Hadley says is an image of eternal love
  • "rosie lips and cheeks" paints a picture of health in the age of smallpox
• Sonnet 116 AO5:

  • "careful, controlled and laborious" Carol Nealey
  • "a definition, rather than an example of love" Helen Vendler
• His Coy mistress AO2:

  • iambic tetrameter in rhyming couplets
  • Syllogism- the conditional beginning forms suspense
  • Caesura divides Ganges and Humber, or gives her time to consider
  • "But" forms a volta to present the conflict of reality
  • "Now" is a trochee in the persuasive finale (emphasised)
  • sibilance presents the ease of their union, convincing
• His Coy Mistress AO3:

  • Marvell lampooned many groups like the Jesuits
  • Written during the Interregnum in the Neoclassical aesthetic. Conceits are associated with the metaphysical movement.
  • Carpe Diem poems began with Catullus, and vanitas were art reminding women of their mortality with deathly motifs.
  • Ganges considered holy, link to colonial conquest
  • References to Genesis 6 (Noah's Ark), Joshua 10 (Sun stand still)
• His Coy Mistress AO4:

  Mimics a blazon, which is parodied in Sonnet 130, in the convincing conversation with the interloqueter

  The Church would use the image of worms to dissuade young men from sexuality
• His Coy Mistress AO5:

  “an egoistic assault on her virginal autonomy” Duyfhuisen

  “The metaphysical conceit has become an ingeniously extended fantasy” ​Rumens

  “[Marvell] has woven his perversity slowly and carefully in his verse, blanketing it first with beguiling platonic promises and then by harsh sexual imagery”​ Singh Deo
• The ruined Maid AO2-

  • Call and response structure- Amelia gains one more line by the end (Power)
  • 6 quatrains of couplets, end in ruin (emphasise the rumours)
  • Listing "in tatters, without shoes and socks" emphasises difficulty, and "polished" and "ruined" contrast. Imagery of feathers contrasts lack of freedom.
  • "your hands were like paws" zoomorphic simile
  • Sibilance and exclamation in stanza 5 to show bitterness
• The ruined Maid AO3/4-

  • Sexual hypocrisy in Tess of the d'Urbervilles, class divide exacerbated by industrialism, use of dialect to distinguish social status but Amelia slips at the end, it is innate.
• The ruined maid AO5-

  • Hardy exploits the great well of moral and sexual feeling bound up with the idealisation of female purity (Renner)
  • Hardy is mocking the self-righteous values of a society that will never accept her again (Rumens)
• The Flea AO2

  3 stanzas of 9 lines (AABBCCDDD), tercet is offset (repetition of threes throughout). Alternates between iambic pentameter/ tetrameter (symbolises familiarity and then disconnect). Repetition to normalise ideas.

  Begins with imperative, two caesura and four monosyllables (reasonable).

  Oxymoronic language, synecdoche ("This flea is you and I")

  Last tercet: dental alliteration of t, fricative f and w alliteration.
• The Flea AO3/4:

  • metaphysical conceit, written during the reign of the Virgin Queen.
  • Renaissance doctors thought blood mingled during sex
  • Idea of body as a temple appears in Corinthians 3
• The Flea AO5:

  "Donne's poetry does not demean women but in fact acknowledges and appreciates all of their capabilities. Though there is one speaker, her silent voice booms" Amanda Boyd

  "Donne manipulates logic and metaphor" Peter Rudynytsky
• Non Sum Qualis AO2:

  Alexandrine (breathless feel). When pentameter is used it conveys reality (each penultimate line).

  Repeated time phrases and languishing interjections.

  Synecdoche of mouth

  Roses and lilies as motifs of eros and thanatos.

  Present tense by the end.
• Non Sum Qualis AO3/4:

  Name derives from Horace's poetry, is a figure of lost love.

  Dowson drunk himself to death and was a Decadent poet, like Oscar Wilde. They were influenced by gothicism and sensuality, prized ennui and artifice over work, symbolising decay in society.
• Non Sum Qualis AO5:

  Dowson's poem doesn't depict a minutely observed, artificial beauty. Weiner

  For Dowson, the poetry of unrequited love allows the ennobling expression of emotions while denying the fatuousness of fulfillment. Alkalay-Gut

  Dowson's poetry is the effervescence of his sorrow;saddest thoughts evoked from the sweetest songs. Brophy
• Ae Fond Kiss AO2-

  Trochaic tetrameter. Repeating opening and closing refrain with anaphora. Feminine rhyme creates softness and wasting love.

  First verse: terminal caesura after sever reinforces split, fricative sounds are soft and prolonged. Long vowels on semantics of suffering.

  Second verse plays with chiaroscuro.

  Rhetoric patterning of never and love (polarised).

  Superlative of "first and fairest" and cyclical ending.
• Ae Fond Kiss AO3/4:

  Burns' use of Scots. Pioneer of romantic movement. Based on Dodsley's The Parting Kiss for Burns' epistolary romance with Agnes McLehose, who would soon move to Jamaica. Guiding star as an eternal symbol of love (Tessa Hadley).
• Ae Fond Kiss AO5-

  "melody of inwardness" Seamus Heaney

  "poetry is the spontaneous overflow of powerful feelings" Wordsworth

  "privileges feeling over intellect and sincerity rather than irony" Luke McBratney
• She Walks in Beauty AO2:

  ABAB/CDCD/EFEF (masculine rhyme) in iambic tetrameter. Opening sibilance creates fluidity and musicality followed by Chiaroscuro. The fourth line has a metrical inversion to create the balance (like the balance of dark and light) present in the poem, the elision of "o'er" also preserves the meter. "One shade the more, one ray the less" creates a syntactic parallel. Sibilance on line 11 to express serenity.
• She Walks in Beauty AO3/4:

  Neoplatonism (beauty in our world only reflects a transcendent beauty), Byron as a leading Romantic.

  Published in Hebrew Melodies with music from Isaac Nathan, written for his cousin Mrs Wilton, who he first saw at a funeral.

  Title a reference to Isaiah 2:5: "let us walk in the light of the lord".

  Emphasises her being chaste and spiritually pure.
• She walks in Beauty AO5:

  "caressing rhythm" Frye

  "a technician in verse" Martin
• Remember AO2:

  Petrarchan sonnet in iambic pentameter, with lack of collective pronouns. Begins with imperative, anadiplosis of "gone away" into next line. Urgency of panting "h" in the direct address and then harsh dental "t". Polyptoton in "turn to go yet turning stay". End stopped octave and volta beginning with "yet". The word remember migrates further to the end of the line signalling distance and absolution.
• Remember AO3/4:

  Rossetti deeply religious so never married, wrote the poem at 19. Close family links to Pre-Raphaelite philosophy- accepting death is key. Heaven presented as peaceful in Revelations. Archaic use of corruption, highlights rotting motif.
• Remember AO5:

  "The speaker longs for death because she cannot reject her suitor outright" Mayberry

  "a war of conscience one side leaning towards human love the other toward divine love" Hill

  "melancholy desire for death" Bowra
• At an Inn AO2:

  5 stanzas of octaves, iambic trimeters and dimeters. ABAB.

  Begins in collective with secretive sibilant sounds, including the liason from "strangers -> sought". Care and were don't fully rhyme: they don't fulfill expectations. Proximity and distance explored in fourth stanza, end-stop on "love lingered numb" shows the death of their love. Fifth stanza starts with anapests (showing dissonance) and has anastrophe of apostrophe. Shift at the end to the present.
• At an Inn AO3/4:

  Hardy a victorian realist who examined social constraints. Biblical connotations of Inn. About his love for married Florence Dugdale, who was an aristocrat, he middle-class.
• At an Inn AO5:

  "the ironic awareness of ordinary human incompatibilities, of misplaced hopes and absurdly mismatched destinies" Guerard
• La Belle Dame AO2:

  3x tetrameters and a truncated line of 4-5 syllables, faster than the traditional balladic form. Narrator as a rhetoric function to transfer identity onto knight. Early stanzas borrow balladic call and response structure. Verse 3 has fricative sounds (painful). Fourth stanza peppered with caesura to dismember the woman in blazonic nature/ synecdoche. Verses 3-6 begin with the agentic "I" but the sensory action of the Belle is relegated to the final line- lack of power.
• La Belle Dame AO3/4:

  Reflects Keats' love of Fanny Brawne and his knowledge of impending death to tuberculosis. Principal references were lyrical ballads by Wordsworth and Coleridge. Keats believed in negative capability: man can be in doubt without reaching for truth/reality. Squirrel's granary (Verse 2) is a sign of life's gifts in Ode to Autumn. Fitzgerald thought the poem showed "romantic love as a destructive force" and based The Beautiful and the Damned about it.
• La Belle Dame AO5:

  English ballads "have their romantic precursors" Earl

  "The transference of inward nature onto supernatural characters...is executed beautifully" Earl

  "the femme fatale is deemed to be sexually voracious, irresistible, and dangerous, leading men to their ruination." Jaber
• The Scrutiny AO2:

  Dramatic monologue, 4 cinquains (ABABB), alternating iambic tetrameter and trimeter. Abundance of personal pronouns (self-centred), distance created with Lady.

  "twelve houres" is hyperbolic, woman compared to undiscovered minerals (conquest), battle semantics to present intimacy. End-stopped lines show self-assurance.
• The Scrutiny AO3/4:

  Cavalier poetry (refined approach to love and poetry and celebrating pleasures in light of political tension like the Civil War)
• The Scrutiny AO5:

  "This poem articulates the pose of the careless Cavalier for whom love is nothing more than a game" Reichardt
• A Song (Absent from thee) AO2:

  Quatrains (ABAB, song-like). Lines 1 and 3: iambic tetrameter, 2 and 4 are iambic trimeter.

  Anastrophe of "absent from thee", Chiasmus reflects opposition of day/night and mistress/lover, bird imagery symbolises freedom.

  "W" alliteration in stanza 3 (weary), syndetic rhythm in "love and place and truth" (hymn-like). "F" alliteration in stanza 4 shows self-hatred.
• A Song (Absent from thee) AO3/4:

  Rochester suffered from syphilis and alcoholism

  Poetry censored due to libertine themes.
• A Song (absent from thee):

  "only death can stop his straying" Thormahalen

  "Rochester was the only man in England that had the true vain of satire" Marvell