شعر للدكتور اسلام الصادى (the passionate shepherd to his love by Christopher Marlowe)

Poem Summary

Stanza 1: Lines 1 – 4

In the first stanza of "The Passionate Shepherd to His Love," Marlowe's speaker, an unidentified shepherd, pleads with an unidentified woman that if she will come and live with him, then all pleasures will be theirs for the taking. The shepherd opens with the invitation: "Come live with me, and be my love." He is not asking her to marry him but only to live with him. The offer is simply put, and his ease in offering it implies that the woman should just as easily agree. However, since the shepherd is forced to continue with a succession of promises, the reader can assume that the shepherd's initial offer was not well received.
The shepherd promises the woman pleasures they will experience in all of the pastoral settings that nature can supply. Since he promises that the couple will experience these pleasures in a variety of locations, it appears his expectation is that the pleasures of the world are principally sexual. He is asking the woman to live with him, and for the Elizabethan poet, "Come live with me, and be my love" has the same connotations it would have for a twenty-first-century reader: the female is being invited to come and make love. "Valleys, groves, hills and fields, / Woods, or steepy mountains" are some of the places the shepherd suggests where the woman might yield to him, and where they might both find pleasure. The overt sexuality of this stanza is a departure from the traditional pastoral writings and romantic love poems of Marlowe's contemporaries, which were not so bold.

Stanza 2: Lines 5 – 8

The second stanza suggests a time of year for the lovers' activity, which is likely spring or summer, since they would be outdoors and the shepherd imagines it is pleasant enough to sit and watch the flocks being fed. He proposes that other shepherds will feed his flocks, since with his mistress by his side, he will now be an observer. The shepherd mentions listening to the "Melodious birds sing madrigals." The singing of birds is often suggestive of spring, since the return of singing birds signals the advent of the new season. Because the first stanza makes clear that the shepherd wants the woman to become his lover, the shift in the second stanza to sitting upon rocks — "And we will sit upon the rocks" — suggests they might partake of the second stanza's activities after they have made love.
This second stanza, if taken by itself, exemplifies the traditional pastoral theme of the restful shepherd watching his flocks, enjoying in quiet repose the countryside and all it offers. It is the idealization of the pastoral form, in which nature is benign and safe, filled with "shallow rivers" and "melodious birds." In the early pastoral tradition, the shepherd would be alone, daydreaming about the woman he loves and whom he wishes to court. But in Marlowe's poem, the introduction of sexual desire inserts the woman into the scene; she too will witness the flocks feeding and enjoy the peacefulness of country life. The isolation of the shepherd is thus removed in Marlowe's poem.
In the final line of stanza 2, the shepherd invokes "madrigals" as accompaniment for the lounging couple. The madrigal was an Italian import to late sixteenth-century English music. In Elizabethan England, a formal, more complicated, Italian aristocratic style of song was replaced with a lighter, more romantic tone and content — the madrigal. Thus the shepherd's inclusion of the madrigal provides a promise of romantic entertainment that completes the image of gaiety and light romance the woman will enjoy if she agrees to accept the shepherd's pleas.


Stanza 3: Lines 9 – 12


In the third stanza, the shepherd offers the first of many promises he will keep if the woman agrees to come and live with him. He promises to make her "beds of roses." One bed is not enough; she is deserving of more than one bed, although certainly the couple would have no need for more than one bed. In addition, the shepherd promises "a thousand fragrant posies." In essence, the shepherd is promising the impossible, but he is representative of any eager lover who turns to hyperbole (gross exaggeration) to entice a beloved. In this case, the woman would be buried in "posies," or flowers, which creates an image more silly than romantic. It is worth noting that Elizabethans often composed short epigrams that were also known as "posies." These short poems were often used as tokens of love. If Marlowe's shepherd is using "posies" to refer to written texts and not a floral tribute, then barraging the woman with love poems is a romantic idea, although still an impractical one.
The shepherd is so eager for his love to join him that he even promises to dress her. He will clothe the woman in "a cap of flowers" and in a "kirtle" covered "with leaves of myrtle." The myrtle flower was a sacred flower to the goddess Venus and was considered an emblem of love. A kirtle was the outermost garment that an Elizabethan woman would wear; it was a sleeveless bodice with eyelets for ribbon that laced up the front. It would have been worn over a shirt or blouse, or even a dress, and it would have had a skirt attached to it. The kirtle would have been the dressiest part of the woman's garment, and so the shepherd's plan to decorate the woman's kirtle would have been in keeping with Elizabethan custom, since the kirtle would have customarily been adorned with some embellishment.


Stanza 4: Lines 13 – 16

In the fourth stanza, the shepherd continues his promises to clothe the woman. Her "gown" would be made of the "finest wool." Rather than simply shearing the sheep, which was the common procedure, the shepherd would "pull" the wool from the "pretty lambs." This image transforms the intense hard labor of shearing into a gentle "pulling" of the wool, a more graceful and romantic activity. The "slippers" he will make for the woman will be "fair lined." By the sixteenth century, women were commonly referred to as the "fair sex," and so the use of "fair" to describe the slippers might also refer to the woman whose feet the slippers would adorn. The buckles of these slippers would be of "the purest gold," since the shepherd's mistress would deserve all the riches he could provide.



Stanza 5: Lines 17 – 20

By the fifth stanza, an image of the shepherd's newly adorned mistress begins to emerge. Line 17 adds a straw belt and "ivy-buds" to a costume that is adorned with "coral clasps" and "amber studs," which serve as buttons. The woman is dressed from head to foot and immersed in "posies." If the woman takes the poet's promises quite literally, she would look like a huge floral bush that glitters with gold, coral, and amber.
In the final two lines of the fifth stanza, the shepherd reiterates his plea that the woman consider his offer. He first reminds the woman that he promises her pleasures, which he hopes will convince her to agree to his wishes. The shepherd then restates the first line of the poem, inviting her to come and live with him and be his love. There is no need to repeat all the many promises of endless love, of sweet beds of roses, or of the clothing he would fashion for her. Instead, he assumes she will remember his promises and if she finds them satisfactory, she will choose to join him. The repetition of the first line makes clear how easy and simple the woman's choice would be to join the shepherd in love, but, just in case she needs more persuading, he uses the final stanza to offer a few more incentives.


Stanza 6: Lines 21 – 24

In the sixth and final stanza, the shepherd uses one last opportunity to seal the deal and convince the woman to give up her chastity to his entreaties. If the woman will agree to be his love, the shepherd promises his "swains" shall dance and sing. "Swain" was a common word for shepherd, and in the sixteenth century, the two words were used interchangeably to create a more favorable image of shepherds. The shepherd's life was one of hard work, and describing him as a swain, which might also refer to a gallant lover, conjures a more romantic image.
So, the idyllic nature the shepherd has thus described is further enhanced by the image of swains who will dance and sing each morning for his lover's entertainment. The time now is firmly set in May, during spring, nature's traditional mating time. The poet has included a variety of images from nature, including the setting, the bed, and the clothing, all of which remind the reader that nature is primarily focused on reproduction. If the woman will come and live with him, every day will be happy and filled with laughter, song, and dance.
In line 23, the shepherd repeats line 19 with a slight but important modification. Rather than pleasures to convince her, the emphasis is on the "delights" he has led her mind to imagine. All of his promises have been the imaginings of a hopeful lover. He has hoped to convince her mind, not her heart. The shepherd has described an imaginary world that he hopes will persuade the woman to join him through her use of reason, if not through her heart. The final line is a repetition of the opening line, reinforcing the relative ease the woman should face in making her decision. The decision is as simple as the shepherd's monosyllabic words: "live with me, and be my love."


Analysis

Argument


The argument in any work of literature is the author's principle idea. The shepherd's argument in "The Passionate Shepherd to His Love" reveals the efforts of the shepherd to convince the unseen woman that she should become his mistress. The shepherd submits a number of arguments designed to be convincing, but the central argument is that all pleasure will be theirs for the taking.


Couplets and Rhyme

Couplets are two consecutive lines of poetry with the same end-rhyme. Traditionally, the couplet was a two-line stanza expressing a self-contained thought, but the form has evolved. It is no longer strictly defined as iambic pentameter, as it once was, and the lines need not be identical in stressed and unstressed syllables. Many of the individual lines in "The Passionate Shepherd to His Love" are eight syllables, but several others are not, and so Marlowe is moving away from traditional poetic structure, even as he deviates from other formulas that guide content, such as those discussed in the pastoral poetry section below.
In "The Passionate Shepherd to His Love," Marlowe uses a simple rhyme scheme of couplets. Each pair is a different rhyme, except for lines 19 and 20 and lines 23 and 24, which repeat the rhyme of the opening lines. One problem with using couplets is that the ongoing alternating rhyme can become tiresome for the listener, especially in a lengthy poem.



Imagery





Imagery refers to the "mental pictures" created by the text. The relationships between images can suggest important meanings in a poem, and with imagery, the poet uses language and devices such as metaphor, allusion, and even alliteration to create meaning and texture. For instance, the line "I will make thee beds of rose" suggests a romantic image that is not in keeping with the reality of roses with thorns. Because the image is so strong and because most readers would associate roses with an image of love, readers probably never stop to consider how unromantic a bed made out of thorny roses would be. Effective imagery in poetry allows the reader to enter into the poem and experience it with all their senses





Pastoral Poetry


The Greek poet Theocritus first created the pastoral poem when he wrote poems representing the life of a Sicilian shepherd. Theocritus produced a picture of quiet peace and harmony among shepherds who lived in an idealized natural setting. His shepherds were characterized by a state of contentment and friendly competition among friends. Love for these shepherds was a romantic longing and not sexual in any way. Theocritus was then copied by the Roman poet, Virgil, whose elegies had a strong influence on early English Renaissance poets. Virgil added some darker elements, including the grief the shepherd feels at the death of another shepherd. Virgil also included suggestions of contemporary problems and created a stronger contrast between the rustic country life and the dangers of city life.
Marlowe probably studied the pastoral poets during his classical education at Cambridge, but he was not the first English poet to adopt the pastoral tradition. Edmund Spenser initiated the Elizabethan trend in 1579 with The Shepheardes Calender, and was quickly joined by Sir Philip Sidney and Robert Greene, who created their own pastoral works. Marlowe, however, made the pastoral his own poetic form by inserting sexuality and by exaggerating the images. Before Marlowe, the shepherd engaged in romantic, though innocent, love affairs and the pastoral was conventional, with artificial language and shepherds who spoke the courtly language of an aristocrat. Marlowe bent the rules by introducing sexuality, creating his own pastoral tradition. The tone of "The Passionate Shepherd to His Love" suggests a parody of the pastoral tradition. Marlowe's shepherd asks the woman to imagine an idyllic life that not only is impossible but even ridiculous in many ways. In exaggerating and creating these absurd images, Marlowe suggests that the pastoral tradition should not be taken too seriously.

Fantastic job

Thanks alot

keep going

SEMSEM

[ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذه الصورة] ميرسى جدا على مجهودك الرائع

nice work dear and here is another way of studying poetry:
hope to get your attention


. [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذه الصورة]


1- Setting :


Christopher Marlowe sets the poem in
early spring in a rural locale (presumably in England) where shepherds tend
their flocks. The use of the word madrigals (Line –referring to poems set to
music and sung by two to six voices with a single melody or interweaving
melodies–suggests that the time is the 16th Century, when madrigals were highly
popular in England and elsewhere in Europe. However, the poem could be about any
shepherd of any age in any country, for such is the universality of its
theme.


2- Characters

The Passionate
Shepherd: He importunes a woman–presumably a young and pretty country
girl–to become his sweetheart and enjoy with him all the pleasures that nature
has to offer.
The
Shepherd’s Love: The young woman who receives the Passionate Shepherd’s
message.
Swains: Young country fellows whom the Passionate Shepherd
promises will dance for his love.



3- Type of
Work


“The Passionate Shepherd” is a
pastoral poem. Pastoral poems generally center on the love of a shepherd for a
maiden (as in Marlowe’s poem), on the death of a friend, or on the quiet
simplicity of rural life. The writer of a pastoral poem may be an educated city
dweller, like Marlowe, who extolls the virtues of a shepherd girl or longs for
the peace and quiet of the country. Pastoral is derived from the Latin
word pastor, meaning shepherd.


4- Theme

The theme of
“The Passionate Shepherd” is the rapture of springtime love in a simple, rural
setting. Implicit in this theme is the motif of carpe diem–Latin for
“seize the day.” Carpe diem urges people to enjoy the moment without
worrying about the future.


5- Writing and Publication Information

Marlowe wrote
the poem in 1588 or 1589 while attending Cambridge University at its Corpus
Christi College. It first appeared in print in poetry collections published in
1599 and 1600.


6- Rhyme and Meter :




In each stanza,
the first line rhymes with the second, and the third rhymes with the fourth. The
meter is [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط], with eight
syllables (four iambic feet) per line. (An iambic foot consists of an unstressed
syllable followed by a stressed syllable.) The following graphic presentation
illustrates the rhyme scheme and meter of Stanza 1:

Come LIVE.|.with ME.|.and BE.|.my LOVE,
And WE.|.will ALL.|.the PLEA.|.sures PROVE
That HILLS.|.and VALL.|.eys, DALE.|.and FIELD,
And ALL.|.the CRAG.|.gy MOUNT.|.ains YIELD.

7- The Poem’s Enduring Appeal




Over the centuries, Marlowe’s little
poem has enjoyed widespread popularity because it captures the joy of simple,
uncomplicated, love. The shepherd does not worry whether his status makes him
acceptable to the girl; nor does he appear concerned about money or education.
The future will take carry of itself. What matters is the moment. So, he says,
let us enjoy it–sitting on a rock listening to the birds.

8- Text of the Poem	Annotations
Come live with me and be my Love,
And we will all the pleasures prove	prove: test, try out
That hills and valleys, dale and field,
And all the craggy mountains yield.
h
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.	madrigals: poems set to music and sung by two to six voices with
	a single melody or interweaving melodies
There will I make thee beds of roses
And a thousand fragrant posies, 10
A cap of flowers, and a kirtle	kirtle: dress or skirt
Embroider'd all with leaves of myrtle.	myrtle: shrub with evergreen leaves, white or pink flowers, and dark
	berries. In Greek mythology, a symbol of love.
A gown made of the finest wool
Which from our pretty lambs we pull,	w: alliteration
Fair linèd slippers for the cold, 15
With buckles of the purest gold.
h
A belt of straw and ivy buds
With coral clasps and amber studs:	coral: yellowish red; amber: yellow or brownish yellow
And if these pleasures may thee move,
Come live with me and be my Love. 20
hh
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.
h
The shepherd swains shall dance and sing 25	swains: a country youths
For thy delight each May-morning:
If these delights thy mind may move,
Then live with me and be my Love.
with all my love and prayers................ [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذه الصورة]

وداه كمان شرح بالعربى للى مش فاهم انجليزى:

ربنا يوفقكم [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذه الصورة]


هو الحب ذلك الشعور الذي يسكن
أهداب الأزمنة... ويثير شجن الأماكن ويحول الريح القادمة من مدن الظمأ إلى نسيم،
وهو ذلك الشعور الذي ينتصر للإنسانية ويبرهن عليها وينتصر للحياة فقط.

والحب هو الذي توهجت بحضوره
قصائد الشعراء وفلسفات المفكرين الذين استطاعوا في لحظات عدة أن يحاصروه بتساؤلاتهم
ودهشتهم ويرسمون ملامحه وإن كانت مبهمة وعجز العاديون عن تحديد ملامحه فاتبعوا طريق
الشعراء والمفكرين.

الحب ذلك الالق الذي يشكل
أعماقنا.. نظرات أعيننا.. علاقتنا مع الحياة.. وتطلعاتنا إلى غد يوقد أحلامه الحب
وانهمرت أجمل القصائد للمحبوب وتحولت إلى أغنيات غيم.

كل شاعر تناول الحب بطريقته
فمنهم من كان يكثر الشكوى ومنهم من كان يمدح المحبوبة ومنهم من اتخذ فلسفة شديدة
الشفافية للحب كشعور ومعنى والحبيبة كرمز للحب ليأتي الشاعر الإنجليزي كريستوفر
مارلو Christopher Marlow بقصيدة كتبها في القرن الخامس عشر تستوقفنا أنها قصيدة
الراعي العاشق لحبيبته أو كما يسميها البعض قصيدة الراعي.

بدأت القصيدة بجذب مباشر
للمتلقي فالشاعر أظهر رغبته بوضوح في السطر الأول من القصيدة come live with me and
be my love وفي المقطع الثاني أبرز الجانب التخيلي فهو يتخيل بواقعية أنه وحبيبته
يجلسان على الصخور بجوار شلالات، يستمتعان بمشاهدة الرعاة عن بعد وهم يطعمون
أسرابهم ويستمعان معاً إلى الطيور وهي تغني لحبهما قصائد غزلية بأصوات رخيمة.

ثم ينتقل إلى ما سيفعله لينال
رضاها وحبها بأنه سيصنع من الورد سريراً لها و يزينه بألف باقة ورد وسوف يغزل لها
قبعة من الزهور وثوباً من زهور الأس العطرية ثم يسترسل حيث سيصنع لها حذاء يقيها من
البرد ابزيمه من الذهب الخالص وسيصنع لخصرها حزاماً من القش وبراعم شجر اللبلاب
يزين بمشابك من مرجان وأيضاً سيضع في أذنيها أقراطاً من الكهرمان وإذا لم تحرك هذه
الأشياء المبهجة مشاعرها فسوف يدعو الرعاة الصغار يغنون ويرقصون لإسعادها في كل
صباح من صباحات شهر مايو ومايو هو شهر الربيع وإذا لم يبهجها كل ما فعل لأجلها فما
زال يقول لها: تعالي وعيشي معي وكوني حبي Come live with me, and be my love. لعل
لديه أشياء مبهجة لها لم تتسع مقاطع القصيدة لاستيعابها.

اعتبر النقاد قصيدة الراعي من
الأدب الرعوي أو الريفي فهذا النوع من الشعر يركز على الحياة البسيطة للريف ويصف
تلك الحياة بأسلوب شعري جذاب، وقصيدة الراعي قصيدة حب تقدم للمحبوبة المشاعر بطريقة
خاصة جداً وتفتح لها الطريق إلى حياة بسيطة يرفرف حولها حب ليبقى الحب وطريقة
ممارسته نتاج فلسفه وبيئة وثقافة

مقطع من القصيدة:
الراعي العاشق إلى حبيبته
تعالي اسكني معي وكوني
حبيبتي
سنحقق كلنا السرور معا
تلك الوديان , الأخاديد , التلال و
الحقول
الغابات أو الجبل المنحدر, تذعن لنا

الرعاة العاشقون سيرقصون
ويغنون
يبتهجون لأجلك كل صباح من أيار
إذا هذه المباهج تشغل بالك
حينها
اسكني معي وكوني حبيبتي


[ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذه الصورة]

ألف شكر على مجهوداتكم الغاليه دى والله بجد أفدتونا كتير

ربنا يسترها بقى انتم كده عملتوا اللى عليكوا

والله دعواتى كمان ليكوا هصلى ركعتين قضاء حاجة وادعى ليكوا كلكم بس عاوز اسماء القصائد الاخرى
[ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذه الصورة]

يا عم بطل التشاؤم ده يخرب بيتك

ولا معتش تدخل المنتدى خالص انا بقولك اهه

ايه الجمال ده؟