To His Coy Mistress
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To His Coy Mistress
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^ Marvell, Andrew (1956). MacDonald, Hugh (ed.). Poems of Andrew Marvell (Second ed.). Cambridge, MA: Harvard University Press. pp. 21–22. OCLC 1058125608 .
^ The Oxford Authors Authors Andrew Marvell . Oxford: Oxford University Press. 1990. ISBN 9780192541833 .
^ Jump up to: a b Lee, Michelle. "To His Coy Mistress by Andrew Marvell." Poetry Criticism . Detroit: Gale, Cengage Learning, 2008. 171-282. Gale.cengage.com: Literature Criticism Online . Web. 20 Oct 2011.
^ Person, James E. "Andrew Marvell(1621-1678)." Literature Criticism from 1400 to 1800 . Detroit: Gale Research, 1986. 391-451. Gale.cengage.com: Literature Criticism Online . Web. 20 Oct 2011.
^ Coy Mistress , Poetry Foundation
^ His Coy Mistress to Mr. Marvell , Australian Poetry Library
^ Wagner, Andreas (2014). Arrival of the Fittest .
^ "The Forest as Metaphor for Mind: 'The Word for World is Forest' and 'Vaster Than Empires and More Slow'" (in: Science Fiction Studies , November 1975) - online: "Ursula Le Guin and Pastoral Mode" ; Rich Erlich: Study Guide for Ursula K. Le Guin's The Word for World Is Forest "Note allusion of Andrew Marvell's poem, "To His Coy Mistress," the source of the title to Le Guin's "Vaster than Empires.""
^ "An Ode to Multiple Universes - Discworld & Terry Pratchett Wiki" . wiki.lspace.org . Retrieved 5 June 2019 .
^ Lehman, David. " 'Carpe Diem' in 46 Immortal Lines" . wsj.com . The Wall Street Journal . Retrieved 17 May 2015 .
^ " You, Andrew Marvell ", by Archibald MacLeish, at the Poetry Foundation
^ On Becoming a Poet , from The Weather of Words, by Mark Strand
^ 05x05 — Excluding and Abstemiousness. Queer As Folk Transcripts. Forever Dreaming
Had we but World enough, and Time,
This coyness, Lady, were no crime.
We would sit down, and think which way
To walk, and pass our long Loves Day.
Thou by the Indian Ganges side
Should'st Rubies find: I by the Tide
Of Humber would complain. I would
Love you ten years before the Flood:
And you should if you please refuse
Till the Conversion of the Jews .
My vegetable Love should grow
Vaster than Empires, and more slow.
A hundred years should go to praise
Thine Eyes, and on thy Forehead Gaze.
Two hundred to adore each breast:
But thirty thousand to the rest.
An Age at least to every part,
And the last Age should show your Heart.
For Lady you deserve this State;
Nor would I love at lower rate.
But at my back I always hear
Time's wingèd chariot hurrying near:
And yonder all before us lye
Desarts of vast Eternity.
Thy Beauty shall no more be found,
Nor, in thy marble Vault, shall sound
My ecchoing Song: then Worms shall try
That long preserv'd Virginity:
And your quaint Honour turn to dust;
And into ashes all my Lust.
The Grave's a fine and private place,
But none I think do there embrace.
Now therefore, while the youthful hew
Sits on thy skin like morning dew,
And while thy willing Soul transpires
At every pore with instant Fires,
Now let us sport us while we may;
And now, like am'rous birds of prey,
Rather at once our Time devour,
Than languish in his slow-chapt pow'r.
Let us roll all our Strength, and all
Our sweetness, up into one Ball:
And tear our Pleasures with rough strife,
Thorough the Iron gates of Life.
Thus, though we cannot make our Sun
Stand still, yet we will make him run. [1]
" To His Coy Mistress " is a metaphysical poem written by the English author and politician Andrew Marvell (1621–1678) either during or just before the English Interregnum (1649–60). It was published posthumously in 1681. [2]
This poem is considered one of Marvell's finest and is possibly the best recognised carpe diem poem in English. Although the date of its composition is not known, it may have been written in the early 1650s. At that time, Marvell was serving as a tutor to the daughter of the retired commander of the New Model Army , Sir Thomas Fairfax . [3]
The speaker of the poem starts by addressing a woman who has been slow to respond to his romantic advances. In the first stanza he describes how he would pay court to her if he were to be unencumbered by the constraints of a normal lifespan. He could spend centuries admiring each part of her body and her resistance to his advances (i.e., coyness) would not discourage him. In the second stanza, he laments how short human life is. Once life is over, the speaker contends, the opportunity to enjoy one another is gone, as no one embraces in death. In the last stanza, the speaker urges the woman to requite his efforts, and argues that in loving one another with passion they will both make the most of the brief time they have to live.
The poem is written in iambic tetrameter and rhymes in couplets. The first verse paragraph ("Had we...") is ten couplets long, the second ("But...") six, and the third ("Now therefore...") seven.
The logical form of the poem runs: if... but... therefore....
Until recently, "To His Coy Mistress" had been received by many as a poem that follows the traditional conventions of carpe diem love poetry. Some modern critics, however, argue Marvell's use of complex and ambiguous metaphors challenges the perceived notions of the poem. It as well raises suspicion of irony and deludes the reader with its inappropriate and jarring imagery . [4]
Some critics believe the poem is an ironic statement on sexual seduction. They reject the idea that Marvell's poem carries a serious and solemn mood. Rather, the poem's opening lines—"Had we but world enough, and time/ This coyness, Lady, were no crime"—seems to suggest quite a whimsical tone of regret. In the second part of the poem, there is a sudden transition into imagery that involves graves, marble vaults and worms. The narrator's use of such metaphors to depict a realistic and harsh death that awaits the lovers seems to be a way of shocking the lady into submission. As well, critics note the sense of urgency of the narrator in the poem's third section, especially the alarming comparison of the lovers to "amorous birds of prey". [3]
At least two poets have taken up the challenge of responding to Marvell's poem in the character of the lady so addressed. Annie Finch 's "Coy Mistress" [5] suggests that poetry is a more fitting use of their time than lovemaking, while A.D. Hope 's "His Coy Mistress to Mr. Marvell" turns down the offered seduction outright. [6]
Many authors have borrowed the phrase "World enough and time" from the poem's opening line to use in their book titles. The most famous is Robert Penn Warren 's 1950 novel World Enough and Time: A Romantic Novel, about murder in early-19th-century Kentucky . With variations, it has also been used for books on the philosophy of physics ( World Enough and Space-Time: Absolute versus Relational Theories of Space and Time ), geopolitics ( World Enough and Time: Successful Strategies for Resource Management ), a science-fiction collection ( Worlds Enough & Time: Five Tales of Speculative Fiction ), and a biography of the poet ( World Enough and Time: The Life of Andrew Marvell ). The phrase is used as a title chapter in Andreas Wagner's pop science book on the origin of variation in organisms, "Arrival of the Fittest". [7] The verse serves as an epigraph to Mimesis , literary critic Erich Auerbach 's most famous book. It is also the title of an episode of Big Finish Productions 's The Diary of River Song series 2, and of part 1 of Doctor Who ' s Series 10 finale. It is the title of a Star Trek New Voyages fan episode where George Takei reprises his role as Sulu after being lost in a rift in time.
Also in the field of science fiction, Ursula K. Le Guin wrote a Hugo -nominated short story whose title, " Vaster than Empires and More Slow ", is taken from the poem. Ian Watson notes the debt of this story to Marvell, "whose complex and allusive poems are of a later form of pastoral to that which I shall refer, and, like Marvell, Le Guin's nature references are, as I want to argue, "pastoral" in a much more fundamental and interesting way than this simplistic use of the term." [8] There are other allusions to the poem in the field of Fantasy and Science Fiction: the first book of James Kahn 's "New World Series" is titled "World Enough, and Time"; the third book of Joe Haldeman 's "Worlds" trilogy is titled "Worlds Enough and Time"; and Peter S. Beagle 's novel A Fine and Private Place about a love affair between two ghosts in a graveyard. The latter phrase has been widely used as a euphemism for the grave, and has formed the title of several mystery novels.
Brian Aldiss 's novel Hothouse , set in a distant future in which the earth is dominated by plant life, opens with "My vegetable love should grow / vaster than empires, and more slow."
Sir Terry Pratchett opens his poem An Ode to Multiple Universes with "I do have worlds enough and time / to spare an hour to find a rhyme / to take a week to pen an article / a day to find a rhyme for ‘particle’." [9]
The phrase "there will be time" occurs repeatedly in a section of T. S. Eliot 's " The Love Song of J. Alfred Prufrock " (1915), and is often said to be an allusion to Marvell's poem. [10] Prufrock says that there will be time "for the yellow smoke that slides along the street", time "to murder and create", and time "for a hundred indecisions ... Before the taking of a toast and tea". As Eliot's hero is, in fact, putting off romance and consummation, he is (falsely) answering Marvell's speaker. Eliot also alludes to the lines near the end of Marvell's poem, "Let us roll all our strength and all / Our sweetness up into one ball", with his lines, "To have squeezed the universe into a ball / To roll it toward some overwhelming question," as Prufrock questions whether or not such an act of daring would have been worth it. Eliot returns to Marvell in The Waste Land with the lines "But at my back in a cold blast I hear / The rattle of the bones" (Part III, line 185) and "But at my back from time to time I hear / The sound of horns and motors" (Part III, line 196).
The line "deserts of vast eternity" is used in the novel Orlando: A Biography , by Virginia Woolf, which was published in 1928.
Archibald MacLeish 's poem " You, Andrew Marvell ", [11] [12] alludes to the passage of time and to the growth and decline of empires. In his poem, the speaker, lying on the ground at sunset, feels "the rising of the night". He visualizes sunset, moving from east to west geographically, overtaking the great civilizations of the past, and feels "how swift how secretly / The shadow of the night comes on."
B. F. Skinner quotes "But at my back I always hear / Time's wingèd chariot hurrying near", through his character Professor Burris in Walden Two , who is in a confused mood of desperation, lack of orientation, irresolution and indecision. (Prentice Hall 1976, Chapter 31, p. 266). This line is also quoted in Ernest Hemingway 's novel A Farewell to Arms , as in Arthur C. Clarke 's short story, The Ultimate Melody .
The same line appears in full in the opening minutes of Michael Powell and Emeric Pressburger 's A Matter of Life and Death (1946), spoken by the protagonist, pilot and poet Peter Carter: 'But at my back I always hear / Time's wingéd chariot hurrying near; And yonder all before us lie / Deserts of vast eternity. Andy Marvell, What a marvel'.
Primo Levi roughly quotes Marvell in his 1983 poem "The Mouse," which describes the artistic and existential pressures of the awareness that time is finite. He expresses annoyance at the sentiment to seize the day, stating, "And at my back it seems to hear / Some winged curved chariot hurrying near. / What impudence! What conceit! / I really was fed up."
The line "A fine and private place, but none, I think, do there embrace" appears in Stephen King's novel Pet Sematary .
One of the Flavia de Luce novels by Alan Bradley is titled “the Grave’s a Fine and Private Place”.
The line "My vegetable love should grow / Vaster than empires, and more slow" is quoted by William S. Burroughs in the last entry of his diary (July 29, 1997).
The poem, along with Marvell's 'The Definition of Love', is heavily referenced throughout the 1997 film The Daytrippers , in which the main character finds a note she believes may be from her husband's mistress. In several scenes, the two Marvell poems are alluded to, quoted, and sometimes directly discussed.
The line "I would Love you ten years before the Flood, And you should, if you please, refuse Till the conversion of the Jews. My vegetable love should grow Vaster than empires, and more slow." Is used as the preamble to part three of Greg Bear 's Nebula award winning novel Moving Mars .
In The Time Traveler's Wife , by Audrey Niffenegger , one of the main characters, Henry, recites the line "To world enough, and time," at several crucial points in the story.
"Le char ailé du Temps" (Time's winged chariot) is the French translation (by Bernard Sigaud, 2013) of a short story by Nina Allan (2009), whose original title is just "Time's Chariot".
Brian quotes the line "Had we but world enough, and time" in season 5 episode 5 of Queer as Folk . [13]
World and Time Enough is a 1994 independent gay-themed romantic comedy-drama written and directed by Eric Mueller.
‘To His Coy Mistress’ by Andrew Marvell is a beautiful love poem based on a gentleman wooing his mistress to make love with him.
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Metaphysical poetry , such as To His Coy Mistress , is a subset of poetry popularized in the late 17th century which focused primarily on the use of what is known as ‘ conceit ’ – in layman’s terms, a type of comparison that is made between two objects who are consciously nothing alike, therefore the relationship between the two things being compared is completely and utterly confused.
Another tenet of metaphysical poetry was the rumination on topics far greater and grander than easy definitions; love was popular, and so was religion, and faith, and belief, and a variety of other topics along those lines. Most metaphysical poets were seldom known in their day as metaphysical poets, did not form the same sort of cohesive movement as the Romantics did in the late 18th century, and were generally considered to be too finicky in their expression. Their work, though emotional and moving, stopped short of expressing the wide ideals behind their writing.
Andrew Marvell was a metaphysical poet writing in the Interregnum period. He sat in the House of Commons between 1659 and 1678, worked with John Milton, and wrote both satirical pieces and love poetry.
The metaphysical poets were men of learning, and, to show their learning was their whole endeavour; but, unluckily resolving to show it in rhyme , instead of writing poetry, they only wrote verses, and, very often, such verses as stood the trial of the finger better than of the ear; for the modulation was so imperfect, that they were only found to be verses by counting the syllables… The most heterogeneous ideas are yoked by violence together; nature and art are ransacked for illustrations, comparisons, and allusions ; their learning instructs, and their subtilty surprises; but the reader commonly thinks his improvement dearly bought, and, though he sometimes admires, is seldom pleased .
‘To His Coy Mistress’ by Andrew Marvell details the efforts of a man towards insisting on his lover’s affection. The unnamed “Coy Mistress” refuses to sleep with the gentleman in question, and his response is to tell her that, had he enough time, he could spend entire centuries admiring her beauty and her innocence. However, human life is short, he does not have enough time, and so they should enjoy each other now while they still can, as no-one in death can embrace or feel pleasure. Through loving one another, they can make the most of their brief time on earth, and thus make something of themselves on earth.
‘To His Coy Mistress’ by Andrew Marvell is written in iambic tetrameter , where the lines consist of four iambic feet. This is not the more commonly used iambic pentameter , which has five iambic feet. An iamb is an unstressed syllable, followed by a stressed syllable. It is also interesting to note that ‘To His Coy Mistress’ itself is written much like a poetic thesis, with the problem at the forefront, followed by the current predicament, and ending with the solution, all from the point of view of the lovelorn gentleman who is trying to get his beloved’s affection.
The lines in the poem are composed of closed couplet form. It means that each line of the poem rhymes with the line next to it. Such a couplet form presents an idea in the unit of two lines. It was famous in the Neoclassical period. Poets like Alexander Pope , John Dryden , and Andrew Marvell were fond of this couplet form. They got the inspiration for using neat and concise couplets from the classical writers of Greece and Rome. However, the rhyme scheme of the poem is also very simple. The lines of the poem contain the AABB rhyme scheme.
‘To His Coy Mistress’ by Andrew Marvell contains various literary devices that make the poetic persona ’s arguments more appealing and emotionally forceful. Likewise, in the poem, the poet implicitly compares “coyness” to “crime”. It is a metaphor . Here, the poet thinks the coyness of the lady might kill the amorous spirit of his persona. In “long love’s day”, there is an alliteration as well as a personification . Here, the poet innovatively personifies love. The poetic persona uses several hyperboles while wooing his lady love. Such an exaggerated overtone is present in the following line, “Till the conversion of the Jews.”
The poet uses allusions in the following lines, “Love you ten years before the flood” and “Till the conversion of the Jews”. The “flood” refers to Noah’s flood. The second line contains a biblical allusion to the conversion of the Jews. In the poem, “vegetable love” is a metaphor or specifically a metaphysical conceit. In the phrase, “Time’s winged chariot” the poet, first of all, uses personification. It is also an allusion as well as a metaphor. In the last line of the poem, Marvell personifies the sun and says they “will make him run.”
‘To His Coy Mistress’ by Andrew Marvell hovers around several themes. The major theme of the poem is carpe diem . Carpe diem is a Latin phrase that means “seize the day!”. Andrew Marvell loved this theme and wrote many poems based on it. In this poem, the poet says that waiting for the right moment to make love, is nothing but the wastage of time. The poetic persona and his beloved should indulge in physical love before their bodies start to become old. The main idea of the poem is, enjoying the moment by forgetting about the future. There is nothing in the future. So, the gentleman in the poem implores his lady love to seize the moment and make love as they have never done before.
Another important theme of the poem is time. Here, the poet po
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