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| The Passionate Shepherd to his Love |
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| The Nymph's reply to the Shepherd |
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*****************, I know where is an hind,
But as for me, hélas, 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,
Sithens 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. |
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| Whoso List to Hunt, Sir Thomas Wyatt |
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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 eye,
Delights not in my merth nor rues my smart:
But when I laugh she mocks, and when I cry
She laughs and hardens evermore her heart.
What then can move her? if nor merth nor mone,
She is no woman, but a senceless stone. |
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| Sonnet 54, Edmund Spenser |
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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 vertous 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 heavly seed:
Derived 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. |
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| Sonnet 79, Edmund Spenser |
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Let me not to the 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 wandering 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.
If this be error and upon me proved,
I never writ, nor no man ever loved. |
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| Sonnet 116, William Shakespeare |
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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 damask'd, 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. |
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COME live with me and be my Love,
And we will all the pleasures prove
That hills and valleys, dale and field,
And all the craggy mountains yield.
There will we sit upon the rocks 5
And see the shepherds feed their flocks,
By shallow rivers, to whose falls
Melodious birds sing madrigals.
There will I make thee beds of roses
And a thousand fragrant posies, 10
A cap of flowers, and a kirtle
Embroider'd all with leaves of myrtle.
A gown made of the finest wool
Which from our pretty lambs we pull,
Fair linèd slippers for the cold, 15
With buckles of the purest gold.
A belt of straw and ivy buds
With coral clasps and amber studs:
And if these pleasures may thee move,
Come live with me and be my Love. 20
Thy silver dishes for thy meat
As precious as the gods do eat,
Shall on an ivory table be
Prepared each day for thee and me.
The shepherd swains shall dance and sing 25
For thy delight each May-morning:
If these delights thy mind may move,
Then live with me and be my Love. |
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| The Passionate Shepherd to his Love, Christopher Marlowe |
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If all the world and love were young,
And truth in every shepherd's tongue,
These pretty pleasures might me move
To live with thee and be thy love.
Time drives the flocks from field to fold,
When rivers rage and rocks grow cold;
And Philomel becometh dumb;
The rest complains of cares to come.
The flowers do fade, and wanton fields
To wayward winter reckoning yields:
A honey tongue, a heart of gall,
Is fancy's spring, but sorrow's fall.
The gowns, thy shoes, thy beds of roses,
Thy cap, thy kirtle, and thy posies
Soon break, soon wither, soon forgotten,—
In folly ripe, in reason rotten.
Thy belt of straw and ivy buds,
Thy coral clasps and amber studs,
All these in me no means can move
To come to thee and be thy love.
But could youth last and love still breed,
Had joys no date nor age no need,
Then these delights my mind might move
To live with thee and be thy love. |
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| The Nymphs Reply to the Shepherd, Sir Walter Raleigh |
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| Sir Gawain and the Green Knight |
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| The Canterburry Tales; The Pardoners Tale |
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| a passing or casual reference; an incidental mention of something, either directly or by implication |
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| something or someone that is not in its correct historical or chronological time, esp. a thing or person that belongs to an earlier time |
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| the adversary of the hero or protagonist of a drama or other literary work |
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| a part of an actor's lines supposedly not heard by others on the stage and intended only for the audience |
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| the highest or most intense point in the development or resolution of something; culmination |
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| When the readers know more than the character |
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| allowing the possibility of several different meanings, as a word or phrase, esp. with intent to deceive or misguide; susceptible of double interpretation; deliberately ambiguous |
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| to show or indicate beforehand; prefigure |
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| a recurring subject, theme, idea, etc., esp. in a literary, artistic, or musical work. |
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| a statement or proposition that seems self-contradictory or absurd but in reality expresses a possible truth |
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| the leading character, hero, or heroine of a drama or other literary work. |
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| the humorous use of a word or phrase so as to emphasize or suggest its different meanings or applications, or the use of words that are alike or nearly alike in sound but different in meaning; a play on words |
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| an utterance or discourse by a person who is talking to himself or herself or is disregardful of or oblivious to any hearers present (often used as a device in drama to disclose a character's innermost thoughts) |
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| a dramatic composition, often in verse, dealing with a serious or somber theme, typically that of a great person destined through a flaw of character or conflict with some overpowering force, as fate or society, to downfall or destruction |
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| THEME: Sir Gawain and The Green Knight |
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| The Nature of Chivalry, The Letter of the Law |
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Great power and quest for power can lead a man to do tyrannical things.
The Relationship Between Cruelty and Masculinity |
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