Andrew Marvell's poem, ‘To His Coy

Andrew Marvell's poem, ‘To His Coy Mistress’ (hereafter I shall refer to the poem as ‘Mistress’) is a beautifully provocative poem. ‘Mistress’ encompasses many literary techniques including tone, imagery, alliteration, metaphor, irony, enjambment and similes. It is written in iambic tetrameter as a three part proposition to his mistress, and Marvell employs alternative poetic styles (as mentioned previously) to enhance each of the three arguments in the poem. In essence, ‘Mistress’ examines the assertion that after death, morality is of no value. Marvell accentuates the triviality of his mistress being vain during her lifetime, emphasizing that she must do away with all trepidation when it comes to temptation. Like many metaphysical poets of the time Marvell investigates the popular Roman term coined by Quintus Horatius Flaccus (better known as Horace) “carpe diem quam minium credo la postero” (enjoy the present and trust as little as possible to the future ). By seizing the day, she can avoid the regrets of not having taken part in the more adventurous side of life. For people who adhere to the mundane and avoid the more adventurous experiences are doing so at their own detriment especially considering their already brief time here on earth. It is of interest that Marvell also blends into this poem a political/social commentary about King Charles II and it is this that rationalises why this was not published in his lifetime.
The three parts to ‘Mistress’ can be identified with the change of tone and pace in the poem. For example ‘Had we but world enough, and time, This coyness, lady, were no crime.” in these two opening lines, Marvell uses punctuation in order to slow down the pace of the poem without interfering with the constant iambic tetrameter throughout the poem. In doing this it reflects the message that time is of no importance. This is followed by the repeated use of open vowel sounds ‘would’ ‘which’ ‘way’ and ‘our’ in the next two lines to make the reader sound wistful as if they are sighing ‘We would sit down, and think which way To walk, and pass our long love’s day’. To further woo and enchant his audience, alliteration is also used to great effect, in line 1 ‘we’ and ‘world’, in line 2 ‘coyness’ and ‘crime’, in Line 3 ‘we would’ and ‘which way’ and finally in line 4 ‘long love’s’.

النتائج (العربية) 1:

قصيدة أندرو مارفيل، '"إلى صاحب كوي العشيقة"' (الآخرة سأشير إلى القصيدة ك 'العشيقة') قصيدة جميل استفزازية. ويشمل 'العشيقة' العديد من التقنيات الأدبية بما في ذلك لهجة والتصوير، الجناس، واستعارة، والسخرية، انجامبمينت وسميلس. هو مكتوب في تيتراميتير الايامبي كفكرة جزء الثالث إلى عشيقته، ومارفيل توظف الأنماط الشعرية البديلة (كما ذكر سابقا) لتعزيز كل من الوسيطات الثلاثة في القصيدة. في جوهرها، يدرس 'العشيقة' التأكيد على أن الأخلاق بعد الموت، لا قيمة لها. مارفيل يبرز تافه عشيقته يجري عبثا خلال حياتها، وإذ تشدد على أن أنها يجب أن نتخلص من الخوف جميع عندما يتعلق الأمر بإغراء. مثل العديد من الشعراء الميتافيزيقي الوقت مارفيل يحقق مصطلح رومانية شعبية يسك من كوينتس هوراتيوس Flaccus (المعروف هوراس) "ديم ضظغ رابع أكسيد عقيدة la بوستيرو" (الاستمتاع بالحاضر وتثق بأقل قدر ممكن إلى المستقبل). عن طريق الاستيلاء على اليوم، وقالت أنها تجنب تعرب عن أسفها لعدم اشتراكه في الجانب أكثر ميلا إلى المغامرة من الحياة. للأشخاص الذين تلتزم الدنيوية وتجنب تجارب أكثر ميلا إلى المغامرة تفعل ذلك على حساب الخاصة بهم لا سيما بالنظر وقت قصير الفعل هنا على الأرض. أنها للاهتمام أن يمزج مارفيل في هذه القصيدة أيضا تعليق السياسية والاجتماعية حول الملك تشارلز الثاني، وهذا ما راتيوناليسيس لماذا هذا لم ينشر في حياته.The three parts to ‘Mistress’ can be identified with the change of tone and pace in the poem. For example ‘Had we but world enough, and time, This coyness, lady, were no crime.” in these two opening lines, Marvell uses punctuation in order to slow down the pace of the poem without interfering with the constant iambic tetrameter throughout the poem. In doing this it reflects the message that time is of no importance. This is followed by the repeated use of open vowel sounds ‘would’ ‘which’ ‘way’ and ‘our’ in the next two lines to make the reader sound wistful as if they are sighing ‘We would sit down, and think which way To walk, and pass our long love’s day’. To further woo and enchant his audience, alliteration is also used to great effect, in line 1 ‘we’ and ‘world’, in line 2 ‘coyness’ and ‘crime’, in Line 3 ‘we would’ and ‘which way’ and finally in line 4 ‘long love’s’.