To His Coy Mistress Flashcards
1
Q
What kind of love is the poem centred around?
A
Eros
2
Q
Eros meaning…
A
Erotic love, connotates short lived sexual lust, and perhaps even forms of infatuation. In other words, it often refers to a sexual or passionate love.
3
Q
Describe the female muses voice
A
She is voiceless, in other words, she is entirely constructed by the speaker. Reflective contextually.
4
Q
Meter of the poem
A
Iambic tetrameter
5
Q
carpe diem
A
seize the moment.
- main message of the play
- States that the muse will grow old and die, and thence become unattractive to him, thus she should seize the moment and succumb to the speaker’s erotic desires.
- Marvell uses carpe diem to persuade his mistress to embrace love before it is too late. The poem’s structure—hypothetical romance, harsh reality, and urgent action—strengthens the argument that life is short, and love should not be postponed.
6
Q
momento mori
A
In To His Coy Mistress, Andrew Marvell also incorporates the theme of memento mori (Latin for “remember that you must die”). This idea serves as a counterpoint to carpe diem, emphasizing the inevitability of death to convince the mistress that delaying love is futile.
7
Q
Tone of the speaker
A
Impatient, frustrated - urges his mistress to abandon her false modesty.
8
Q
True or false: Tone is deeply reflective of contemporaneous patriarchal values.
A
True
9
Q
Connotations of Coyness
A
Pretend or a put-on shyness.
Definition: affected shyness. If someone is coy, they are shy, but it is an affected shyness, and they are not actually shy.
10
Q
Power of speaker is e…
A
Endorsed over the female muse - reinforces patriarchal ideas.
11
Q
Tone in today’s world
A
Predatory tone, as he is highly manipulative of the muse in order to get her to share his bed - utilises his logic and reason persuasively.
12
Q
Syllogistic structure
A
A logical argument that applies deductive reasoning to arrive at a conclusion based on 2 or more propositions/axioms.
The two key propositions that the speaker begins with are ‘momento mori’ and that time is finite.
i.e. the intended argument is that there is no time to be coy or aloof because time is disappearing.
13
Q
What is unusual about the meter
A
Contextually, it was unusual for poets to employ an iambic tetrameter, he deliberately makes a selection regarding the meter for an intended purpose. Marvell shortens the meter to emphasise that our lives are limited by time.
14
Q
Compression of syllables
A
impresses upon us how time is a limitation of our experiences.
15
Q
What does each stanza represent?
A
Each stanza presents a different strategy for inveigling himself into the affections of the girl.
16
Q
What does the speaker desire?
A
For the muse to be more physically amorous towards him.
17
Q
Stanza 1
A
Imagination of life with no limits - uses…
Imaginative reverie, contemplation, thought experiment.
Her conduct only makes sense if we lived in a world that is not temporal.
Exults muse
18
Q
Stanza 2
A
Facing the reality that life is limited
19
Q
Stanza 3
A
Panacea (solution) - How to live and love in a limited time on Earth
- Seize the day and submit
20
Q
What kind of love does the poem most likely address? (licit or illicit)
A
Illicit love
21
Q
Illicit love:
A
a man attempting to steal the virginity of a woman whom he has infatuated
22
Q
Licit Love:
A
A gentleman wooing the lady he loves - within contemporaneous moral codes.
23
Q
ALLUSIONS - Alchemy
A
Marvell draws at several points from the science of alchemy. The most obvious example is the speaker’s reference to “amorous birds of prey” (line 38), which is an alchemical emblem that symbolizes the sexual union of a man and a woman. In this case, the allusion implies that their love has a quasi-mystical significance.
24
Q
Archaic language in to his coy mistress
A
“coyness” (meaning shyness), “quaint honour” (referring to a woman’s preserved chastity), “Time’s wingèd chariot” (a personification of time rushing by), “languish” (to become weak or listless), “the conversion of the Jews” (a reference to a long-awaited future event), and “shouldst” (an old form of “should”)
25
Rhyming Couplet 1 (Lines 1 & 2)
'Had we but world enough and time, This coyness, lady, were no crime.'
- Sets up an exercise in imagination
- Metaphysically questions the nature of reality, nearly pre-empting the solution.
- World in which a relationship with mistress does not exist - hence 'had we'
- Her behaviour would not be a crime in another world with infinite time, prevaricating the start of a sexual relationship and linking her actions to something that is criminal.
- 'Were no crime' is a hyperbole that makes the implications of her actions obvious. The impact is wounding, the same way that criminal conduct would be, informing the audience of his dissatisfaction with her behaviour.
26
‘We would sit down, and think which way To walk, and pass our long love’s day’.
'We would sit down, and think which way To walk, and pass our long love's day'.
- The verbs in the second rhyming couplet are all passive and contemplative, indicating a wealth of time.
- Additionally, the use of conjunctions changes simple sentences into compound sentences, which creates a lengthening of the grammar and an elongation of the sentence, alluding to unlimited time
- There is an alliterated 'L' sound in line 4, amplifying the intended sense of slowness.
- Punctuation (caesura) delays and slows the reading - almost as if the reader is experiencing eternity.
- Loves long day is a metaphor, stating that with endless times, a whole life's events could fit into one day, allowing the pair to contemplate the direction of their relationship.
27
Rennaissance
The Rennaissance was a rediscovery of classical (ancient) antiquities, such as architecture and literature. This rediscovery prompted a return of ideas of contemplation and syllogism into popular literature.
Contemplation = removing yourself from "reality" and developing unique critical interpretations of the world.
Syllogism is an argument where a conclusion is supported by two true propositions.
28
‘Thou by the Indian Gange’s side, Shouldst rubies find; I by the tide Of Humber would complain.
I would love you 10 years before the flood, And you should, if you please, refuse Till the conversion of the Jews.’
'Thou by the Indian Gange's side, Shouldst rubies find; I by the tide Of Humber would complain.
I would love you 10 years before the flood, And you should, if you please, refuse Till the conversion of the Jews.'
The speaker suggest in saying "By the Indian Gange's side" that the muse is exotic (not of this place), connotes and implies her unfamiliar and interesting nature. She is intriguing and exciting and worth of discovery.
Rubies imply preciousness and he flatters and esteems her, making a grand point of her beauty and uniqueness. (As worthy of discovery as the highly culturally significant river).
He then states that 'I by the tide of Humber would complain', flattering her further in stating that she is exotic while he is the Humber (river in England) - connoting that he is boring and ordinary.
- Seductive techniques
He states that he would complain, and in contrast to a superimposed modern interpretation. complain actually means to write love poetry for.
He is emphasizing an impossible, idealized scenario—one where they had unlimited time, and he could spend centuries admiring her and composing poetry in her honour.
29
Lines 8 - 10
'I would love you ten years before the flood, And you should, if you please, refuse Till the conversion of the Jews.
In these lines, through the speaker, Marvell employs and effective overstatement or hyperbole, whilst simultaneously referencing biblical history.
First, in lines 7–10, the speaker says: “I would / Love you ten years before the Flood, / And you should, if you please, refuse, / Till the conversion of the Jews.” Here, the speaker claims that his love is enduring enough to last all of time, from before the great Flood of the Old Testament to the conversion of the Jews just before the Last Judgment. The hyperbolic inflation of time is amusing when contrasted with the immediacy of the speaker’s sexual desire.
30
Rhyming couplet 6 (lines 11 & 12)
'My vegetable love should grow Vaster than empires and more slow;'
This is a piece of phallic imagery:
The speaker makes a joke about the size of his genitalia, both to impress his mistress and to convince her of the intensity of his desire. He implies that she so arouses him that his “vegetable love” (i.e., his erect penis) will grow to an absurdly enormous size: “vaster than empires.”
31
Rhyming couplet 7 & 8
32
Biblical allusions
Marvell uses biblical allusions to humorous effect, enhancing the speaker’s argument with a sense of grandeur and authority. In line 8, the speaker imagines loving his mistress since “the Flood,” referencing the Old Testament story of God’s punishment of humanity. Similarly, in line 10, he claims his love will last “Till the conversion of the Jews,” an event traditionally linked to the end of time. These exaggerated references give the speaker’s declarations a comically grand tone.
33
Enjambment
34
Had we but world enough and time, This coyness, lady, were no crime.
- Establishes a reverie premise, where he states if time were infinite, her behaviour would not be 'criminal'.
- It sets up an experiment in though in the form of modified syllogism.
- He prevaricates (implies) beginning a sexual relationship.
- The outset associates her behaviour with something of criminal nature, a hyperbole which makes the implications of her actions obvious to the audience.
- Her behaviour is wounding and immoral, the same way that criminality would be, informing the audience of his dissatisfaction with her behaviour.
35
We would sit down, and think which way To walk, and pass our long love's day.
- Marvell includes verbs such as sit, walk and think that are associated with the phenomenon of slowness (passive and contemplative), indicating an abundance of time. This amplifies his proposition that time is associated with indulgence.
- Additionally, the skilful utilisation of conjunctions changes simple sentences into compound sentences, resulting in an effect of elongation. This provides a sense of how the grammatical structure is reflective of a false reality where time is infinite.
36
Why is the poem written in tetrameter?
The tetrameter was unusual as most interregnum poetry was written in pentameter, so the tetrameter must be deliberate.
Marvell employs the structural device of a tetrameter to enhance the emphasis that human lives are limited by time.
37
Thou by the Indian Gange's side Shouldst rubies find; I by the tide Of Humber would complain.
- As a mode of flattery, he indicates that she is exotic, by associating her with the supposedly 'newly discovered' Indian Ganges. This subtly reinforces colonial values - Exoticization of the East during the so called 'great age of discovery'.
- He more directly expresses that she is not of this place, and connotes that she is exciting, interesting and something worth of discovery.
- Rubies are generally associated with preciousness, another strategy employed within his lexicon of seduction techniques.
- He then compares himself to the Humer (a river in Northern England) - implying that he is ordinary and boring in comparison to her.
- He flatters her further in stating that he would 'complain' meaning that he would write love poetry for her.
38
I would Love you ten years before the flood, And you should, if you please, refuse Till the conversion of the Jews.
Hyperbole:
In these lines, through the speaker, Marvell employs and effective overstatement or hyperbole, whilst simultaneously referencing biblical history.
First, in lines 7–10, the speaker says: “I would / Love you ten years before the Flood, / And you should, if you please, refuse, / Till the conversion of the Jews.” Here, the speaker claims that his love is enduring enough to last all of time, from before the great Flood of the Old Testament to the conversion of the Jews just before the Last Judgment.
The hyperbolic inflation of time is amusing when contrasted with the immediacy of the speaker’s sexual desire.
39
My vegetable love should grow [enjambment] Vaster than empires and more slow.
The intended interpretation may be ambiguous - i.e. several intended readings
Vegetable love may reference deeply rooted love, one that has more depth than other forms of love. The hiddenness and depth of his love may indicate illicitness. Erps may verge from infatuation to something far deeper.
It may also be a libidinous piece of phallic imagery (deliberate), where he attempts to seduce her be referencing coitous.
The comparison to "empires" emphasizes the boundless potential of this love. If given infinite time, it would continue to expand, much like an empire slowly expanding its borders. i.e. he would devote lifetimes to adore every part of her.
40
An 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.
These lines are a modified form of "blazon" an important tradition in renaissance poetry - similar to the Petrarchan sonnet.
This is a celebration of her beauty, a catalogue of her physical attributes.
It is a modified Blazon as it does not describe in detail the specificities of what she looks like, only allocating overstated periods of time to admire her, it just expresses the potency of his desire for her.
41
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.
The speaker claims that he would spend an age, or an epoch admiring each part of her body - boundless limits of time in such a reverie.
The phrase "the last age should show your heart" suggests that true emotional connection and understanding would come last. This could reflect the idea that deep emotional intimacy is the culmination of a long and patient relationship. However, it is the only time that he references her humanity, marking it as just another seductive technique.
42
But at my back I always hear [enjambment] Time's winged chariot hurrying near;
Tonal change - essentially discredits what has been stated in stanza one.
- Time is personified as riding a winged chariot - a unique double allusion to time having wings (Mercury) and the chariot of Apollo, a unique feature that makes the authors style distinctive.
- This is easily identifiable and resonates with an audience, thus it is effective in portraying the speakers intended purpose.
- It intensifies the notion of the swiftness of the passage of time.
- The compression of syllables (10 beats into a tetrameter) - deviation from rhythm emphasises the idea that time provides us with a finite space, so as much activity as possible must be squeezed into a small space - as much pleasure as possible should be drawn out of every moment.
- It connotates that time is clipping at our heels, providing it with agency and describing how it harries the two lovers until their grave.
- Time is not just passing—it is actively hurrying near, as if it is a hunter or predator.
43
And yonder before us lie Deserts of vast eternity.
- (Implied criticism - secular) Critical of puritan and Calvinistic views, mildly challenging the dominant belief that the purpose of human life is to perform 'gods work' to gain entrance to heaven.
- He states that after life, all that would lie before the speaker and his muse are deserts, connoting emptiness, unfulfillment and dissatisfaction - emphasizing his seductive point that the muse preserving her virginity would be a fruitless pursuit.
- The word “yonder” suggests that this fate is not distant but looming ahead, making the inevitability of death feel more immediate.
44
Thy beauty shall no more be found; Nor, in thy marble vault, shall sound My echoing song;
- The speaker ends his reverie and articulates the inevitable consequences of mortality.
- Instead of admiring her slowly for a surplus of 30,000 years, he will watch her beauty fade as she becomes unattractive to him, claimed by aging and death.
- When she is in the grave - he establishes an implicit threat that highlights that she will not be able to hear his praises and affections from her grave - implying that she would neither ascend to heaven nor descend to hell, but her body would simply lie in the grave unredeemed.
45
then worms shall try That long preserved virginity.
- He dwells, with horrified fascination on the fact of death and its effects on the human body - utilising dark imagery and implied threats to persuade her.
- Moreover, he describes internal desolation with such mellifluous language, employing assonance and consonance to reinforce the mood and establish add texture as well as subtle emphasis to his points.
- It is revealed that the muse is a virgin, and outlines the consequences of preserving her virginity in a singularly grotesque and rhetorical flourish. The worms will take her virginity when she is in the grave. He argues that her virginity is only worthwhile if she cashes it in for a particularly rich pleasure.
46
And your quaint honour turn to dust, And into ashes all my lust;
- "Quaint honour is archaic", and slightly mocking of mistress’s chastity or modesty, suggesting that her reluctance to embrace love is overly precious or outdated.
- The speaker does apply the same standard to himself, just as her quaint honour will turn to dust, his lust will turn to ashes
- The word "ashes" evokes cremation and destruction, suggesting that once they are dead, desire will be meaningless. For both of them, death would be an end to sexual pleasure.
- The juxtaposition of "dust" (her honour) and "ashes" (his lust) creates a parallel structure, reinforcing the theme of transience.
47
The grave's a fine and private place, But none, I think, do there embrace.
- Marvell breaks from a cherished cliche of the interregnum, where 'to die' was a euphemism for having an orgasm.
- In this case, death is not the image of sexual pleasure, but is quite the opposite.
- Though the grave may seem as a quiet and private place, none have sex there, implying that death and time would strip the muse of potential sexual pleasures, again, rendering her in the grave unredeemed.
48
Now therefore, while the youthful hue Sits on thy skin like morning dew,
Time is inexorable, the best we can do to keep it at bay is make the most of things while we can.
- Like morning dew is an apt and ominous simile, that indicates that her youth and beauty is like morning dew, which does not last and will pass - which the speaker utilises as an implication of his urgency for her to succumb.
- The tone shifts from grim inevitability to passionate urgency.
- This is part of the carpe diem argument—youth is fleeting, so they must act now.
- The imagery of dew adds gentleness and sensuality, making the argument more persuasive.
EVALUATION:
- Highly effective in making the transition from death to desire.
- Evocative and persuasive—the imagery subtly reinforces the fleeting nature of youth without being overly blunt.
49
Stanza 3 is a series of ... clauses
Series of elaborating clauses, that repeat and emphasize the same idea.
50
And while thy willing soul transpires At every pore with instant fires,
- Personification – The "willing soul" almost acts with its own agency, emphasizing mutual desire.
- Imagery of heat and fire – The phrase "instant fires" conveys passion, reinforcing the theme of urgency.
- Contrast – This vibrant, burning imagery starkly contrasts the earlier cold, lifeless descriptions of dust and ashes.
-He implies that she is not entirely sincere in her refusals, and that she is ignited in his presence. This can be seen with "willing soul transpires", like steam rising through a vent.
-The image of "transpiring at every pore with instant fires" suggests that passion is physically escaping her, as if she cannot truly hide it.
51
Now let us sport us while we may,
Line 37 strays from the rhetorical organization as it stands on its own.
- It emphasises the fact that they must act immediately, that there is no time left to waste according to the preceding lines.
- "Sport us" acts as a euphemism for engaging in sexual intimacy.
52
And now, like amorous birds of prey. Rather at once our time devour Than languish in his slow-chapped power.
- The word "amorous" connotates a ravenous or rapacious love, and is an effective image to portray what their union would contain, active - swoop - hunt. Assuaging his sexual desires.
- Challenges puritan ideals that Coitos is for the purpose of reproduction only, as any enjoyment is inspired by the direction of Satan.
- The word "languish connotates a death-like state, passive, not acting and melancholic, meaning that we are powerless against love's slow chapped power.
- Sonic appeal - slow chapped slows the line with an alliterated "L" and the hyphenation also slows the pace of the reading.
- Slow-chapped implies a drying out, or a gradual breakdown of physical - march to physical decline.
- They must devour (push back) time, before it causes them to deteriorate.
53
Let us roll all our strength and all Our sweetness up into one ball,
Unity
54
And tear our pleasures with rough strife Through the iron gates of life:
Iron gates of life is a symbol of the muses genitalia.
55
Thus, though we cannot make our sun Stand still, yet we will make him run.
- The sun is a symbol of the marker of our time - days & years.
- The only way that human being have to forestall time for moments is not allowing ourselves to become spellbound by fear of death and time.
- Act on our desires - chief desire of erotic love leads to satisfaction and ultimately to fulfilment.
56
Is the second stanza reflective of a secular world - explain why
Yes it is...
57
Why is Carpe Diem contextually important?
The concept of Carpe Diem was of importance due to the English Civil war (highest British death toll per capita).
Life was typically short for young men.
