Semester Poetry Essay Example
Semester Poetry Essay Example

Semester Poetry Essay Example

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  • Published: December 18, 2017
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This unit will attempt to offer an overview of Spender's well known sonnet sequence, the Alienator sonnets, Slung primarily on formal elements and literary Influences. It will offer analyses of three sonnets boom the Amaretto. The Influence In particular of Italian court poets like Patriarch, and the reworking of the sonnet will be explored. The earlier mentioned conflict between the Christian and Platonic visions especially of love and eroticism will be touched upon. To begin with, in what follows immediately, we will examine some aspects of the sonnet and of the courtly love tradition, which Spencer was part of. 0.

1. 1 The sonnet An important point to remember while reading the poems and the following notes is that the sonnet is fundamentally a short lyric, a stylized fou


rteen line poem that developed in Italy in the Middle Ages. There are broadly three styles of sonnets: the - Patriarchal, which is the most common, consisting of an octave and a sestets; the Spenserian, which has four quatrains and a couplet, rhyming ABA Bcc CDC e; and couplet, but differs in its rhyme scheme (ABA CDC beef egg).

The sonnet became popular in Italian poetry primarily as a vehicle for the expression of love and sensuality, a heritage that it canted with it into its English versions. Patriarch was the Italian poet most well-known froth's practice, and his Convenience - a collection of love sonnets - is a sort of literary c o ? n ?e n d I u nth passions of the lover. The of? sonnet is in many ways the most appropriate foam for the articulation and expression of the Taint of

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sentiments that came to be characterized as courtly love.

Its brevity prevents excessive sentiment from beckoning sententiousћand forcing such sentiment to be articulated through intense imagery and condensed rhythmic. At the same time its internal organization allows the poet a degree of flexibility and innovativeness in terms of constructing the poem as a dramatic movement or series of movements that mirrored the movements of his own passions and feelings.

One of he titlist-tan vii-tees of any courtier (as we earlier noted in Unit 8), according to the influential Italian writer Castigation in Tale Roll of TIE Courtier (which served as a conduct Book of sorts for many Elizabethan courtiers) was duration (or supersaturate). We can see how informant the sonnet was as a fond of the lyric that held in moderation even as it Ignited at - the oven?lining passions of the courtly lover.

Perhaps inmost significantly, it allowed the poet to represent love as an intense Heat elusive, almost ephemeral and trans-worldly feeling - an ideology of love that hairdresser the poetry of the courtly love tradition. In this sense, the sonnet was the ideal of I ? n the for articulation fifths dominant conception of love in the Renaissance. Let us briefly examine this phenomenon. Spender's Poetry-I 10. 1.

2 The Courtly Love Tradition and Poetry Nee Sir Things Wyatt and the Earl of Surrey translated Patriarch's work into English in the 16"century, it was to prove tremendously influential.

The sonnets initiated a Nay bethinking and WI-ting about love in English poetry that was fundamentally chivalric, based on feudal thinness and ideas, and centered on the figure of the beloved s mistress of

the poet. This way of thinking about love, or ideology of in love, was first formed in the troubadour poetry of Equating and ? r o v e n c e southern France toward the end of the 1 lath century, flop where its influence spread to Lilly and the rest of Europe.

One may describe its basic tenets as the following: the celebration of adultery; the near-deification of the mistress; the lover as very often Lindquist in his love; and somewhat paradoxically, the celebration of faithful service to the beloved. There were several reasons for the emergence of this particular . Ideology of love.

Medieval Europe in the early part of the last millenniums was controlled by feuding Near-lords, protected and s u ? ? o u n d e d aimless of inking?TTS by who owed allegiance entirely to their respective barons.

One means of fanning alliances analogous these lords was through? enlarges between their houses. These ma?ridges of convenience meant that the lady of the castle was oaten not very close to the lord, and even neglected by her husband. Since the castle populations were the amorous attention of the many knights and courtiers. The passions thus evoked Newer talus often tom by the opposite demands of fidelity to the lord and desire for the beloved.

Equally informant were the roles of the Catholic imagination of the Virgin Mary on the one hand and the pre-Christian tribal conception of whine as powerful beings, on the other: they led to the beloved, because of her social inaccessibility, often being represented as quasi-divine, especially in poetry.

It is from this peculiar conjunction of social

and historical factors that the poetry of courtly love carries the paradoxical discourses of adultery and fidelity, intense physical passion celebrated in n idealized, almost spiritualists fashion.

Poets in particular had few predecessors to Tums to, to chart this new mixture UDF emotions, although the Latin' poet Ovid, in his Ears Alienator (which pictured the lover as the slave of his passion and therefore of his beloved), was to prove singularly influential. Tale poetry that emerged flop this context spread swiftly through medieval Europe; C S Lewis' old but classic study, The Allegory o f I o v e , is w ? r t h exploring for a more detailed understanding of this phenomenon.

However, by tile time it reached England in the 1 61 h century, several there factors came to play a decisive role in changing its characteristic features. Poets like Sidney and Surrey continued in the veil of the old courtly love poetry, particularly with the AI?avail Elizabeth to the throne of England.

She epitomized the of type of the inaccessible ministries even more salsa?lay than the auguries of the beloveds in earlier poetry, and inspired the same kind of mixed and paradoxical fervor.

The beloveds in the courtier poetry of tale time was thus frequently compared in her inaccessibility to the queen herself. The online-taut difference was that Elizabeth, as unattainable, was also FL?nationally boll 'lord' and lady: queen, besides being t n ? I y tile courtier owed allegiance as well as fidelity. This resulted in an intensification of poets. It is only in Spender's erase that a the language of deification in the Ii?Gillis new language is

forged, fusing tile amorous with the divine ill a way that liberated both from the contradictory pull of the other.

We have noted ill the earlier units seine of the reasons for the allergenic of Spencer as a new Icing of poet. What we need to note here is that spread of a strict Protestant manorial Occidentalized substantially to he malting of Spender's poetry. This code broke with the deification of the beloved in the mould of the Virgin Maim, rendered her more this-worldly, thereby enhancing her desirability while simultaneously insisting on the omnipotence of maintaining sexuality and desire within conjugal bounds.

It must be noted here that such a language of restraint was already available in the minor Platonic conception of love to be found in Patriarch; but Spender's genius lay in aligning that language with a minor Protest:lent stress on the omnipotence of nail*gofer sexuality. Hal this sense, the language of love hat we will see in the Lorelei sonnets and in the Patronizing?I later, display the shift from the earlier codes of courtly love to a minor celebratory, this-worldly, and therefore realizable love, that nevertheless unhappiness the sanctity of the love itself.

Let LIST now examine the three sonnets of the Amaretto chosen for study, in this light, 10.

2 THE AMARETTO SONNETS The Nanny ,testimonies share ninny of the typical characteristics of the court poetry of Nas vive fashionable by the time Spencer was writing, it also shares for instance the fashion of incorporating classical and Biblical allusions and oenology. Another vive popular idea that these soreness share will their contemporaries is that of the avowed intent of unoriginality their subjects

- in this instance, Elizabeth Bayle.

While Spencer owes some of his imagery in particular to continental writers like the Italian 1 Cot Toast and the French poet Ronald, these sonnets are essentially variations on the Patriarchal sonnet, which Spencer was familiar with given the popularity of Pictograph poetry in Elizabethan England, and through his own translations of Patriarch. The Patriarchal sonnet, like all sonnets, has fourteen lines and is usually visible lilts two parts, the octave (eight lines) with the rhyme scene?e baobab, and sestets (six lines) with the rhyme ceded, or its variants like CDC.

Typically the Patriarchal sonnet also ninepins the Patriarchal conceit of the beautiful, yet unresponsive, cruel and distant ministries/beloved, the object of the sonnet's address. This figure was picked up and reworked by Elizabethan consenters, in translations of Patriarch and in original poems, till it became almost hackneyed. But the Patriarch of the Elizabethan imagination is the early Patriarchal, obsessed by the instability of his actions, manifested in his poetry tollbooth the common device of the oxymoron. The later Patriarch, who seeks absolution %mom such mutability, is picked up oily by Spencer among the Elizabethans.

In Spender's versions therefore, the mistress is a illus.

more accessible and responsive figure than the Elizabethan type or the early Patriarch. The entire sonnet sequence may be split roughly into three movements, or phases of passion. The first section (sonnets 1-36) is largely in h e mode of complaint, and sees the illustrates as tyrannical and his own love as oppressive. The second section (sonnets 37-69) refigures the lover and his mistress in more exploratory, and therefore more terms, with the lover appearing

more aware of his mistress as 1 eel .

Elf feeling, thinning and speaking sub-eject of passion. The last section (sonnets is is reversal of the first phase: it sees the poet-lover as successful in his amorous enterprise, and tech thrills of relation change, to?vary subordination of the ?mistress the to tech" classier and will of the lover. It must be noted that, like a finely composed pick of annulus, till three ? ? ? o v e m e n TTS cannot, in actuality, be so easily operated: there are overlaps and seepage in the themes identified above, between the different pleases, and the scheme suggested here is arguably not watertight. - lover, it has the advantage of providing us with a convenient ha?idle the complex criticisms Inca on attitudes expressed in this sonnet sequence. The three sonnets chosen for study in this unit may be seen as belonging respectively, one to each of the three movements identified above. Spencer also experiments with the line and rhyme schemes I'll?e sonnet, splitting it into three linked quatrains and a couplet.

Nee shall study the effects of this in our analyses of tile poems. Spec?seer's Poetry-I 10. 2. 1 sonnet 34 of the first movement ill its tone 'of complaint, its sense of condo?soon and despondency. TTS depiction Olathe beloved as a remote, almost inaccessible 1 gill-e Inca in its overall scans lucubration's.

It essentially follows the Patriarch?l trope, first popularized by Wyatt in Isis translation of the Italian poet, of 'he lover a:; a stool 1 1 tossed ship, calculi in the grip of his passions. I lover, Spencer introduces tech title of the beloved

a star that gig?icicles MIM thorough tech seas litter. In storm (or tale troubles of' life) whichever, her light is hidden frown him by clouds, leaving him to wander now in darlingness and dismay' (1 1 . 5-7).

Further, unlike the other Elizabeth?an versions of this trope, Sponsor does not attribute the storm to his beloved, implying desires; contrarily, he hopes 'Lat which this thereby that it is a storm soot.

Me is past', she will shine again as his guiding star (1 1 . 3-12). The sonnet, though apparently diverging from tech Baccarat?Han form in its organization into Lire quatrains and a couplet, may nevertheless still be split into n octave of two quatrains, and a a sestets with a quatrain a ? I d couplet, thematically: the first eight lines present tech poet's cue?rent situation of feeling lost in sea of trouble, without abidance or solace.

The first quatrain l.

IIRC lays out the analogy while the second applies it to the spelling subject himself'. 'Tile next six lines reverse this downward mood, to anticipate relies from the 'perils' and a renewed access to his beloved. The sestets in turn may be split and into the squat?line the couplet, with the latter returning to touch upon the poet's closes. Sense of grief ND anxiety, with which the Poe?then The sonnet employs till typical Spenserian sonnet form, with the rhyme scheme ABA Bcc CDC e.

The interesting effect this achieves is the continuity between the different quatrains but a discontinuity with the couplet. In teens of reading the poem, this has one possible effect: the three quatrains reflect a total experience (of trouble and

care), in which the hope and anticipation of relief from the experience becomes a part of it, rattier TLA?I distinct from it; tech final couplet then functions as a reelecting colorimeter, distinct flop the experience, and in fact almost objectively rendering tech experience as a total and continuing one. O. 2.

2 sonnet 67 Irish sonnet too picks up a trope common to both Planarian sonnets and to other Elizabethan versions of them: the setting of the lint, with the beloved as a deer bet?gig hunted by the poet as huntsman. Again, unlike its typical treatment in Elizabethan sonnets, in Spender's version the huntsman catches his prey. In filch, Spender's is a radical exception to this convention, for HCI not only wins the chase but presents the victory over the beloved, or the concludes of the prey, as being by HCI own will, I. , as of her own desire (11. 11-12).

The ambiguity of line 9, "There she beholding me with milder looked', Maltese it unclear who makes I I ? e concludes possible by becoming milder, the hunter or the hunted, but line 1 1 suggests that the beloved remains nervous about the prospects of marriage, belying the last lines of the poem. It would U?alternating n Stride o Spencer f poem 'Whoso list to hunt... , a sonnet with similar themes and imagery, but . In the traditional Patriarchal mould In Watt's poem the deer, or beloved, is ultimately unattainable, and the poem ends with the line 'Noel me teenager, for Career's I m' (the Latin phrase emailing 'do not touch me'), which are the words inscribed on the collar around the

deer's neck.

In contrast, there is no Caesar, or competing lord, to whom the beloved is bound in Spender's poem.

In her vive availability she thus becomes the site of a transforming discourse of love and desire in Spender's poetry a discourse's which the beloved is not Just transformed flop a remote and unrealizable object of desire, but, with a new mutuality and reciprocity h a t probably originates in Protestant thoughtful, is hinted at as being herself a desiring subject. This Monet too uses the rhyme scheme ABA Bcc CDC e, using the same three quatrains plus a couplet scheme, but unlike sonnet 34, it resists a thematic split into an octave and a sestets.

Instead, being a poem less about a condition than an event, it lays out the movements of the event in three steps - the three quatrains - followed by contenting couplet. The reversal typical to the Spenserian sonnet happens in the second quatrain itself, with the return of the 'deer', and her eventual willingness to be captured. 10.

2. 3 sonnet 77 This sonnet boll-rows not from Patriarch but frown another ?Lila poet who was also inspired by Patriarch, Torque Toast (1544-95), specifically his sonnet 'Non son is fluids belle'.

Toast describes his beloveds breasts through two analogies - AUP?anal and TTL?e legendary golden apples - but Spencer picks on oily one of these In this sonnet, devoting another sonnet entirely (solemn 76) to the other. In both 76 and 77, Spender's interstitial are not to describe physical beauty for its own sake, or as sexually stimulating and erotic, but to forge a connection between physical beauty and spiritual

virtue, linking the erotic with the spiritual and tale sacred.

That is, he

Niches to suggest that the beloved is so fill of virtue and religious and manorial purity, that even the sight of her breasts can only arouse in Line an appreciation 01' these qualities in her, rather than simple physical desire. Hence the description o r her breasts as Exceeding sweet, yet void of sinful vice, That many sought yet none could rue taste, sweet fruit of pleasure brought from paradise: By Lou I?oneself in his garden Platte. [TTL. 9-12] and The reference to 'particle. s multi-leveled, referring to the original sin and the fruit of the Tree of Knowledge (of sexuality), as well as suggesting that his beloved is Paradise itself embodied, with the understanding of Paradise here as that original state of 'man' when the sensual and the spiritual were not separate but fused.

In this Spencer is deliberately attempting a fusion of the Platonic ideal (of ultimate beauty as lying beyond sensual perception), and Christian myths and values (such that the Platonic Ideal of beauty may be perceived in the physical world by one sufficiently spiritual to not be evenhanded by its sensual seductions).

Spencer seems to be applying Reformation celebrations of conjugal sexuality as superior to celibacy, to the less strictly marriage-oriented Patriarchal frame of sensuality. The reference in the final couplet to the thoughts as guests at or an electrodes sensuality. This Like the other two sonnets, this. Sometimes too follows the rhyme scheme ABA Bcc CDC e.

There is a false rhyme between lines 4 and 5, for 'worry' and 'royalty' are not true rhymes for 'lay'

and 'by'.

This may suggest a dissonance between the quatrains, but it would not be true. Firstly, the overwhelming theme of the sonnet pre-empty any such dissonance, holding the poem together on he unlikely comparison oft I ? e beloveds remember that such rhyme breasts to a table laden with delicacies. Secondly, we n?just battles were intended to provide a totality of linked and related experiences. As on such, false rhymes were a permitted poetic liberty, basing the RL?yin spelling rather than sound.

We may therefore treat the rhymes as true easies and regard the t]ere quatrains as part of a single experience, fusing the sensual and the spiritual or religious, rather than as discrete and disconnected baits of one event. Like sonnet 34, his one too describes a condition rather TTL?an event (as in sonnet 67). However, an more like sonnet 67, this sonnet too cannot therefore be split into an octave and a sestets. 10. 3 LET'S SUM UP In this unit we have looked at some important aspects of the sonnet forint and the.

Traditions of courtly love poetic that influenced Spencer.

We noted how the sonnet Nas in many ways the aptest literary vehicle for the articulation of a new conception of love that owed much to the Italian courtly love poets. Some of the important aspects of the stoutly love tradition and their transformation in Spender's poetic, long with the historical reasons for this, were also touched upon. We then examined some of Spender's shorter poems in this light. We saw how they draw upon and yet diverge substantially from, earlier traditions of love poetry, especially the Patriarchal.

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