The Definition Of Love Marvell

Saturday, 23 January 2021

And yet I quickly might arrive Where my extended soul is fixt, But Fate does iron wedges drive, And always crowds itself betwixt. A fixed soul likely refers to the speaker's body. This casts light on the earlier stanzas in which his love is shown, through dark descriptions and the portrayal of Despair, to be saddening. In this stanza, he goes on to say Fate (another personification) comes between him and, presumably, his love. For Fate with jealous eye does see Two perfect loves, nor lets them close; The idea the reader develops while reading the previous stanzas is confirmed at the start of the fourth stanza. Fate does not allow two loves to be close to each other. In this case, it is the speaker and his beloved. Their union would her ruin be, And her tyrannic pow'r depose. Fate is show to be tyrannical. Fate, previously described as jealous, does not want to be ruined or lose power. And therefore her decrees of steel Us as the distant poles have plac'd, The "decrees of steel" are the laws Fate has put into place.

A Short Analysis of Andrew Marvell’s ‘The Definition of Love’ – Interesting Literature

Andrew Marvell: Poems Summary: The poem's speaker is an anonymous lover who contemplates the nature and definition of love. He begins by saying that his love is both "rare" and "strange" because it was "begotten by Despair / Upon Impossibility. " He goes on to claim that only despair could reveal to him "so divine a thing" as this love, because "Hope" could never come near it. He imagines that he "quickly might arrive" where this love is leading him, but finds that his soul's inclinations are thwarted by Fate, who "drives iron wedges" between the speaker and the object of his affection. According to the speaker, the problem is that Fate cannot allow "Two perfect loves" to come together. Doing so would overthrow Fate's power, so Fate has placed the two lovers into physically separate spaces, like "distant poles" that can never come together. They must remain separate, the speaker laments, unless "giddy Heaven" falls or the entire world is suddenly "cramped into a planisphere. " The speaker then compares the lovers' connection to two infinite lines, each of which forms a perfect circle.

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These two entities are personified, evidenced by the use of capital letters. They are further personified by the notion they are able to create (or birth) the love of a person. Once again, these descriptions are fairly odd. The metaphysical aspects of the poem are immediately shown in the first quatrain of the poem. Magnanimous Despair alone Could show me so divine a thing Magnanimous indicates a person who is very forgiving. In addition to the personification of Despair, the poem continues using unusual descriptors. It is quite odd to think of Despair, the complete loss of hope, as being forgiving. However, the speaker attributes the love he feels to the aforementioned Despair. In addition, the reader witnesses the first romantic depiction of love with the word "divine. " Where feeble Hope could ne'er have flown, But vainly flapp'd its tinsel wing. Though Hope is often thought of as strong, here it is portrayed as weak. The speaker claims it could never have achieved what Despair did.

MY Love is of a birth as rare As 'tis, for object, strange and high; It was begotten by Despair, Upon Impossibility. Magnanimous Despair alone Could show me so divine a thing, Where feeble hope could ne'er have flown, But vainly flapped its tinsel wing. And yet I quickly might arrive Where my extended soul is fixed; But Fate does iron wedges drive, And always crowds itself betwixt. For Fate with jealous eye does see Two perfect loves, nor lets them close; Their union would her ruin be, And her tyrannic power depose. And therefore her decrees of steel Us as the distant poles have placed, (Though Love's whole world on us doth wheel), Not by themselves to be embraced, Unless the giddy heaven fall, And earth some new convulsion tear. And, us to join, the world should all Be cramp'd into a planisphere. As lines, so love's oblique, may well Themselves in every angle greet: But ours, so truly parallel, Though infinite, can never meet. Therefore the love which us doth bind, But Fate so enviously debars, Is the conjunction of the mind, And opposition of the stars.

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Andrew Marvell – The Definition of Love | Genius

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The metrical rhythm is iambic tetrameters, that is four iambs or metrical feet per line, where a iamb is one unstressed followed by one stressed syllable. The effect is of a solemn, elegant pace, somewhat slow and serious, appropriate to the poem's message. Language and Imagery The voice is that of a first person singular speaker, probably the poet. The tone is lyrical, song-like. The language is learned and intelligent, and the imagery abstract and complex. The outstanding feature is the use of metaphysical conceits; for example, in stanza six the speaker says 'the World should all/Be cramp'd into a Planisphere'. (Note that 'planisphere' is an invented word. ) It is typical of a metaphysical poet to weave into his poem the growing fascination and understanding of the world and the cosmos among intellectuals. The detailed annotations give full analysis. What Does Metaphysical Mean? The word 'meta' means 'after, ' so the translation of 'metaphysical' is 'after the physical. ' Metaphysics deals with questions that can't be explained by science, and explores the nature of reality in a philosophical way.

Common metaphysical questions include the following: •Does God exist? • What is the difference between reality and perception? •Is everything that happens already predetermined? If so, then is free choice non-existent? •Is consciousness limited to the brain? Of course, there is no one correct answer; Metaphysics is about exploration and philosophy, not about science and mathematics. Characteristics One common characteristic is that Metaphysical poetry is clever and witty. The poets examined serious questions with humour and inventiveness. Metaphysical poetry also sought to shock and challenge the reader; to question the unquestionable. The poetry often mixed ordinary speech with intellectual paradoxes and puns. The results were strange, comparing unlikely things, such as lovers to a compass or the soul to a drop of dew. These bizarre comparisons were called 'conceits'. Metaphysical poetry also explored a few common themes — religion; the theme of carpe diem (seize the day) and the nature of humanity and emotions.

Because these lines are parallel, though, they shall never intersect. Therefore, the speaker concludes, Fate has enviously thwarted the love that binds him to his beloved, and the only way they can be together is in a union of their minds. Analysis: Scholars often connect Marvell's "The Definition of Love" to John Donne's metaphysical lyrics, due to the elaborate imagery and the neo-platonic implications of love between souls or minds that is distinct from the physical body. The poem constitutes an exploration of love by depicting two perfect yet irreconcilable loves – the love of the speaker, and the love of his lover. These two loves are perfect in themselves and they face each other in an opposition of perfection, but, according to the speaker's formulation, that same condition prevents them from meeting in the physical sphere. The poem is composed of eight stanzas, each of which features four lines of iambic tetrameter that rhyme alternately, in a pattern of ABAB, CDCD, and so forth.