Apuntes examen de Textos poéticos, Apuntes de Análisis de Textos Literarios

¡Descarga Apuntes examen de Textos poéticos y más Apuntes en PDF de Análisis de Textos Literarios solo en Docsity! Examen Textos Poéticos Tema 1 Sonnet 19: Devouring Time, blunt thou the lion's paws BYWILLIAM SHAKESPEARE Devouring Time, blunt thou the lion's paws, And make the earth devour her own sweet brood; Pluck the keen teeth from the fierce tiger's jaws, And burn the long-liv'd Phoenix in her blood; Make glad and sorry seasons as thou fleets, And do whate'er thou wilt, swi-footed Time, To the wide world and all her fading sweets; But I forbid thee one more heinous crime: O, carve not with thy hours my love's fair brow, Nor draw no lines there with thine antique pen! Him in thy course untainted do allow For beauty's pattern to succeeding men. Yet do thy worst, old Time! Despite thy wrong My love shall in my verse ever live young. Summary and structure: Shakespeare begins Sonnet 19 by considering how time (personified as Time, as in several of the earlier Sonnets) destroys both the strong and the gentle: the lion’s paws are blunted by time, as are the tiger’s jaws, and the earth which gives life to every living thing ends up devouring every creature (because we and other land animals end up in the ground, rotting into the earth). Even the phoenix will be devoured, in the end, by time. This poem is an English sonnet, with three quatrains and a couplet at the end. The rhyme is ABAB CDCD EFEF GG, in iambic pentameter, through which meaningful words are highlighted such as Time, devour, crime… Plus we have here male or single rhyming which can be seen in the following examples (paws, brood, jaws, blood…) 1. In the first quatrain, Shakespeare talks about time and, using imagery, comments on its effects on nature. 2. In the second, he tells Time to do as it wants, but he urges it not to commit one “heinous crime” on a counter-statement (line 8). 3. In the third, he explains that he wants time to leave the young man's beauty untouched. In line 10, Shakespeare inserts a metaphor in which “lines'' means wrinkles. This use gives the word a loaded meaning here. It is as if Shakespeare, the writer of lines, is in a battle with Time, the etcher or drawer of lines, as to who can win out – and whoever wins will determine whether or not the Fair Youth will ever age and die or not. 4. In the last couplet, the speaker says that Time threatening the youth's beauty does not matter as they will live forever in his poems. It is unusual in that it doesn’t simply wrap up the preceding argument made in the rest of the sonnet: it overturns it. You know what, Shakespeare says: forget it. Do what you want. The Youth will remain forever young in Shakespeare’s verse, which will serve to ‘immortalize’ him. It's the first sonnet in the sequence that is not addressed to the Fair Youth: instead, Shakespeare addresses Time (apostrophe), and refers to the Fair Youth as ‘my love’. Shakespeare appears, by this stage, to have fallen for the Fair Youth and not to be above saying so. There’s a deeper intensity to his attachment here: if we want to read the Sonnets as a narrative sequence that tells a developing story, then Shakespeare has abandoned the idea of trying to persuade the Fair Youth to marry a woman and have children, perhaps because he’s now realized he wants the Youth all for himself. Themes: The main themes in this sonnet are time, youth, and immortality. The sonnet comments on the nature of time and its impacts on the natural world. Every physical object remains beautiful for a certain period of time, then, it eventually fades away. The speaker knows that his friend’s beauty will meet the same end. So, first, he asks for time not to treat his friend differently. But he knows that is impossible, Sonnet 20: A woman’s face with nature’s own hand painted BYWILLIAM SHAKESPEARE A woman’s face with nature’s own hand painted Hast thou, the master-mistress of my passion; A woman’s gentle heart, but not acquainted With shiing change as is false women’s fashion; An eye more bright than theirs, less false in rolling, Gilding the object whereupon it gazeth; A man in hue, all hues in his controlling, Which steals men’s eyes and women’s souls amazeth. And for a woman wert thou first created, Till nature as she wrought thee fell a-doting, And by addition me of thee defeated By adding one thing to my purpose nothing. But since she pricked thee out for women's pleasure, Mine be thy love and thy love’s use their treasure. Summary and structure: In this poem, Shakespeare says that the Fair Youth was created by Nature to be like a woman, with a woman’s face, a woman’s gentle heart, and beautiful eyes like a pretty woman’s. But each of these attributes is without the downside that’s found in a woman who has them: the Youth’s gentle heart, for instance, isn’t fickle like a woman’s. Similarly, the Youth’s pretty eyes aren’t prone to be rolled (e.g. in disapproval or nagging) as a woman’s are. This poem is an English sonnet, with three quatrains and a couplet at the end. The rhyme is ABAB CDCD EFEF GG, in iambic pentameter, through which meaningful words are highlighted such as woman, nature, painted, passion, etc. It has double or female rhymes, which is a type of rhyme that consists in adding one unstressed syllable aer the last stressed syllable (painted, passion, acquainted, fashion…). 1. In the first quatrain there is a description of the Youth’s feminine beauty, the speaker begins by presenting a series of images that confuse whether or not he is speaking about a man or a woman. This is enhanced by the use of the word “master-mistress” in the second line, which adds further ambiguity. 2. In the second, the narrator argues that the Youth attracts the admiration of men and women 3. In the third, the speaker explains that he was initially created by Nature as a woman, but then added “one thing”, which are male organs. 4. In the concluding couplet, Shakespeare ends with a bawdy pun, the verb "pricked” calling up that “addition” between the Youth’s legs. Since Nature has given the Youth a ‘prick’ for women to enjoy, Shakespeare tells him that the love he feels for the Youth is his to cherish, while the women enjoy his ‘love’s use’. Shakespeare draws a distinction between the physical love between man and woman, and the platonic love he harbors for the Youth. Theme: At the end of the sonnet, it is said to leave the boy’s genitals to women and for the men, love. This is the main theme of the poem, love Rhetorical devices: 1. Hyperbaton: change in order of a sentence. In the first two lines, and line 9 2. Enjambment in the first two lines. 3. Oxymoron in “master-mistress”, a pair of opposed terms placed together. 4. Anaphora in “A woman”, which is the repetition of words at the beginning of the lines or clauses. This is used to create emphasis. 5. There is a balance created in this poem, which is supported by semantic fields that depict a woman (face, gentle heart, beautiful eyes). 6. Metaphor: His eyes “Gild,” or cover in gold, everything that they gaze at. This is a beautiful metaphor that is used to say that everything is improved or blessed by the young man’s gaze. 7. Polyptoton, repetition of words with the same root (“addition” and “adding”). 8. Chiasmus: concepts are repeated in reverse order “Mine be thy love and thy love’s use their treasure” Sonnet 12: When I do count the clock that tells the time BYWILLIAM SHAKESPEARE 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 silver’d o’er with white; When loy trees I see barren of leaves Which erst from heat did canopy the herd, And summer’s green all girded up in sheaves Borne on the bier with white and bristly beard, Then of thy beauty do I 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 defence Save breed, to brave him when he takes thee hence. Summary and structure: Shakespeare presents a series of images suggesting the passing of time and the decaying of living things. Observing how everything dies, Shakespeare begins to question the Fair Youth’s beauty, which he has been praising till now: even the Youth, young as he is now, will grow old and die. The only thing that can ‘defend’ us from this inevitable process is procreating, so that as we grow old we can be content that we le behind something that will outlast us. It’s an English sonnet which means that it has three quatrains and a couplet at the end. The rhyme is ABAB CDCD EFEF GG, in iambic pentameter, through which meaningful words are highlighted such as time, scythe, past, beauty. Plus there is a male or single rhyming which can be seen in: “time”, “night”, “prime”, “white”… How blest am I in this discovering thee! To enter in these bonds, is to be free; Then where my hand is set, my seal shall be. Full nakedness! All joys are due to thee, As souls unbodied, bodies uncloth’d must be, To taste whole joys. Gems which you women use Are like Atlanta’s balls, cast in men’s views, That when a fool’s eye lighteth on a Gem, His earthly soul may covet theirs, not them. Like pictures, or like books’ gay coverings made For lay-men, are all women thus array’d; Themselves are mystic books, which only we (Whom their imputed grace will dignify) Must see reveal’d. Then since that I may know; As liberally, as to a Midwife, shew Thy self: cast all, yea, this white linen hence, There is no penance due to innocence. To teach thee, I am naked first; why then What needst thou have more covering than a man. Summary and Structure: This poem plays on the traditions of love poetry. The speaker offers elegant and elaborate compliments for his mistress, praising her beauty. But unlike other love poems of its era, “To His Mistress Going to Bed” doesn’t beat around the bush—the speaker wants to have sex with his mistress, preferably as soon as possible. As the speaker articulates his erotic desire, the poem exposes some dynamics between speaker and mistress: he not only wants to sleep with her, he also wants to possess and dominate her. This is a metaphysical poem written in 4 irregular stanzas made by 48 lines. The lines are composed in rhyming couplets, which means that they are separated into rhyming pairs. The poem is in iambic pentameter through which important words like Madam, bed or nakedness are highlighted. Although being in iambic pentameter in the beginning we have an eleven syllable line (line 1), made due to the poet’s will. This line is constructed around the word “power” because he wanted to highlight it. Metaphysical poems are known for the use of multiple comparisons, metaphors and wonderful imagery. . The poem starts with the speaker undressing his lover, one piece of clothing at a time. He basically convinces the woman because he wants to sleep with her, but what is more important is that he wants to become the lord of her body, as he sees her body as a new land. Aer some arguments made by the speaker to convince the woman, at the end he says that he is a man and that he is undressed so there is no reason for her, as a woman, to remain dressed. Themes: The major themes in this poem are nudity, passion, love and sex. Rhetorical devices: 1. Metaphor:. This can be seen throughout all the text, for example when the speaker compares his lover to heavenly treasures such as heaven 2. Simile: a comparison such as in “As souls unbodied, bodies uncloth’d must be”, he is comparing the souls and the bodies. (Also a chiasmus) 3. Ellipsis: “As souls unbodied, bodies uncloth’d must be” (also/as well). 4. Enjambment, sometimes with a full stop in the middle of the line followed by the actual enjambment 5. Imagination, unreal and amazing images, which are not found in Elizabethan poetry. 6. Imagery: One of the most important things about this poem is the variety of images exposed to convince the women to have sex with the poet Tema 3 A Valediction: Forbidding Mourning BY JOHN DONNE As virtuous men pass mildly away, And whisper to their souls to go, Whilst some of their sad friends do say The breath goes now, and some say, No: So let us melt, and make no noise, No tear-floods, nor sigh-tempests move; 'Twere profanation of our joys To tell the laity our love. Moving of th' earth brings harms and fears, Men reckon what it did, and meant; But trepidation of the spheres, Though greater far, is innocent. Dull sublunary lovers' love (Whose soul is sense) cannot admit Absence, because it doth remove Those things which elemented it. But we by a love so much refined, That our selves know not what it is, Inter-assured of the mind, Care less, eyes, lips, and hands to miss. Our two souls therefore, which are one, Though I must go, endure not yet A breach, but an expansion, Like gold to airy thinness beat. Sonnet 18: Avenge, O Lord, thy slaughter'd saints, whose bones (On the Late Massacre in Piedmont) BY JOHNMILTON Avenge, O Lord, thy slaughter'd saints, whose bones Lie scatter'd on the Alpine mountains cold, Ev'n them who kept thy truth so pure of old, When all our fathers worshipp'd stocks and stones; Forget not: in thy book record their groans Who were thy sheep and in their ancient fold Slain by the bloody Piemontese that roll'd Mother with infant down the rocks. Their moans The vales redoubl'd to the hills, and they To Heav'n. Their martyr'd blood and ashes sow O'er all th' Italian fields where still doth sway The triple tyrant; that from these may grow A hundred-fold, who having learnt thy way Early may fly the Babylonian woe. Summary and Structure: This sonnet is a plea, an urgent and emotional request, from Milton to God to avenge the deaths of the slaughtered saints in Piedmont and to remember the victims. It is a powerful reminder of the consequences of violence and the importance of justice. Milton is asking for justice for the victims and for the criminals for their actions. It’s an Italian sonnet, which is formed by an octave and a sextet. The rhyme scheme is ABBA ABBA CDCDCD, in iambic pentameter, through which meaningful words are highlighted such as avenge, saints, bones, martyr, slaughter’d… It has male rhyme, which means that there is no other syllable aer the last stressed syllable. Themes: Good, pious people trapped on a dark world, struggle of good and evil. Rhetorical devices: 1. This poem is an apostrophe addressing God 2. Allusions to persuade the reader with references to biblical verses of vengeance. “Avenge, O Lord” is a biblical reference to Luke 18:7, a verse that speaks about vengeance. “Forget not: in thy book record their groans” refers to the book that shall be read on the Judgement Day. 3. Imagery: used in the sonnet to depict the atrocities that took place in Piedmont to persuade God. Some examples are: a. “thy slaughter'd saints, whose bones Lie scatter'd on the Alpine mountains cold,” b. “Mother with infant down the rocks” 4. Alliteration: “Slaughtered saints” or “triple Tyrant” 5. Personification: human characteristics are attributed to the Alpine mountains in “Ev'n them who kept thy truth so pure of old”. 6. Metaphor: Here we have “triple Tyrant” which is a metaphor of the pope and his triple crown. 7. Hyperbole: “A hundred-fold, who having learnt thy way”. 8. Enjambments: This can be seen in throughout all the sonnet 9. Its enjambed lines, abrupt rhythms, and precise use of assonance captures the violence indicated in the title—the slaughter of civilians in Piedmont in April 1655—and the poet’s rage at the atrocity. To Lucasta, Going to the Wars BY RICHARD LOVELACE Tell me not (Sweet) I am unkind, That from the nunnery Of thy chaste breast and quiet mind To war and arms I fly. True, a new mistress now I chase, The first foe in the field; And with a stronger faith embrace A sword, a horse, a shield. Yet this inconstancy is such As you too shall adore; I could not love thee (Dear) so much, Lov’d I not Honour more. Summary and Structure: This is a love poem in which a man says goodbye to his beloved before going to war. He wants his lover to understand. why he must leave the safe and sweet comfort of her presence, begging her not to think him unkind for going away. He admits that he loves his lover so much but he loves war more, so he goes into the battlefield. Lovelace responds to his lover’s complaint that he is leaving her to go off to fight. Don’t tell me I’m cruel for leaving you like this, he says, because I go to war out of honor. If I were not honorable, I wouldn’t be a fit lover for you – so the very thing that takes me away from you, namely my sense of duty and honor, is the thing that makes it possible for me to be a good lover for you in the first place. This poem is divided into 3 stanzas, each one containing four lines. The rhyme scheme is abab cdcd efef and it has a single or male rhyme. Shakespearean Sonnet ● Finest love poems with cryptic sequences. ● The “I” of the poet: The lovely boy, the rival poet, the dark lady. ● Based on the Petrarchan tradition but subverting it (Idealism vs Realism; Chaste Lady vs Dark and Promiscuous Lady; Lovely Boy is the object to praise (not the lady as in the Elizabethan poetry) Metaphysical poetry Definition Metaphysical poetry is highly intellectualized, uses rather strange imagery, frequent paradoxes and contains extremely complicated thought. Metaphysics deals with questions that can't be explained by science. It questions the nature of reality in a philosophical way. Characteristics Metaphysical poetry: - contained large doses of wit. In fact, although the poets were examining serious questions, they were sure to ponder those questions with humor. - sought to shock the reader and wake them up from his or her normal existence in order to question the unquestionable. - oen mixed ordinary speech with paradoxes and puns. The results were strange. These weird comparisons were called conceits. - explored a few common themes. They all had a religious sentiment. In addition, many of the poems explored the theme of carpe diem (seize the day) and investigated the humanity of life. Themes:Metaphysical poetry is spiritual & has oen religious themes. Moreover, it focuses on love, as the union of souls. Literary Devices:Metaphysical poetry uses metaphors, puns, paradoxes & meter to create drama & tension. In addition, Metaphysical poetry uses scientific, medical & legal words & phrases to create arguments about the philosophical aspect of life. Poets:Metaphysical poets were men of high intellect. They all graduated from Oxford University, Cambridge University or they studied at one of the Inns of Court in the city of London. With the help of their vast knowledge, they presented new ideas and stories to their readers. Unclarity:Metaphysical poetry is considered highly ambiguous and obscure due to high intellect and knowledge of metaphysical poets. It is challenging to understand at first. Short Poems:Metaphysical poetry is considered to be brief and concise. Every line conveys a lot of meanings in a few words. Every word is adjusted in every line, hence there is no wastage of words. Sayings in the Poetry:Metaphysical poetry is a vast collection of maxims and sayings. Thus epigrammatic quality is part and parcel of metaphysical poetry. John Donne is a pioneer in this regard. Metaphysical Conceits: It is the unique quality of metaphysical poetry. A conceit is a comparison of two dissimilar things, which may have very little in common. E.g. Abraham Cowley in his poem “The Mistress” compares his love for ladies to his habit of traveling in various countries of the world. Originality: Originality is the hallmark of metaphysical poets. All the metaphysical poets were unique and original in their ideas. They didn’t follow the path of their contemporary poets. They stood against their contemporaries and followed their own way of writing poetry. Wit:Metaphysical wit is the expression of one’s idea and thoughts, using aptly, the words and various figures of speech in such a manner as to provide pleasure to the readers. John Donne is called the “Monarch of Wit” in the history of metaphysical poetry. Platonic Love: Platonic love is another feature of metaphysical poetry. Platonic love means spiritual love, which is free from elements of physical love. 2.3 DIFFERENCES BETWEEN ELIZABETHAN POETRY 8, METAPHYSICAL POETRY ELIZABETHAN METAPHYSICAL 1. Elizabethan age is the Renaissance age and since Renaissance spirit constitutes the tide of humanism, the vision of life that is reflected in Elizabethan literature in general and poetry in particular is idealistic. This means that life is seen under the image of a rose and this world as a rose garden. 1. Metaphysical poetry came into being in the seventeenth century mostly as a reaction against the excess of idealism and the high effusiveness in the Elizabethan literature. Therefore, metaphysical poetry is realistic in nature. Instead of the rose, here we come across the sick rose. 2. In an Elizabethan poem dazzling imagination of the poet functions and "gives to the airy nothing / A local habitation and a name.” 2. In a metaphysical poem logic is used. The speaker or the poet establishes his point with strong logic. He impresses us as a bar at law. So, the structure of a metaphysical poem is syllogistic. 3. Quite in keeping with the idealistic projection an Elizabethan poem uses melodious language. 3. Quite in keeping with the realistic projection a metaphysical poem makes use of colloquial language. 4. Since the Elizabethan imagination upheld the reciprocity between the human world and the world of nature, the poetry of the age exploited ideas, images, symbols, and analogies from nature. 4. In metaphysical poetry the 'abstruse terminologies' (M.H. Abrams), that is, the scholastic terms from diverse fields- religion, philosophy, geography, astronomy, cosmology, and different branches of science, are employed for expressing an emotional idea. 5. An Elizabethan poem that transports us to a higher reality uses metaphor, simile, personification etc. as figures and images and symbols as the media of creation. 5. A metaphysical poem makes use of wit that is expressed through the intelligent handling of the figures like Paradox, pun, hyperboles, ambiguity, and irony. It is basically satirical in spirit. 6. In Elizabethan poetry the analogies bear distinct and closer similarities. In drawing the analogies, the poet does not display his pedantry. It however shows his imaginative ecstasy. 6. The use of metaphysical conceits, a far- fetched analogy between things or beings which are apparently unalike, constitutes another milestone of metaphysical poetry. 7. Highly Romantic, an Elizabethan poem is an exercise in imagination. It requires cardiac work. 7. The study of a metaphysical poem requires cerebral work. It is a brain work. 8. An Elizabethan poem is lyrical in nature. It is a spontaneous overflow of powerful feelings. 8. A metaphysical beginning. poem has dramatic 9. There is no balance of the logic and the lyric in an Elizabethan poem. Here is the excess of the lyric. 9. According to T.S. Eliot, the hallmark of metaphysical poem is the “incorporation of erudition into sensibility.”