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The Passionate ward to His Love Summary EssayThe Passionate Shepherd to His Love is a pastoral lyric, a poetic form that is used to create an idealized vision of rural life within the context of personal emotion. Pastoral verse forms had been in vogue among poets for at least(prenominal) seventeen hundred years when Marlowe wrote this one. The Greek poet Theocritis, in the third century B.C.E. (Shipley 300-1,) was the starting pastoralist poet, and he, too, wrote about shepherds. All pastoral verse, including Marlowes, is to some degree influenced by this passe-partout practitioner. The poem is written in very regular iambic tetrameter. Each line dribbles exactly four heavy stresses, and the metrical feet are almost endlessly iambic. Similarly, most lines contain eight syllables, and the few that dont create a specific poetic effect ( such as lines 3 and 4), or have easily elided syllables which may be read as eight. This regular meter, sustained through the twenty-fou r lines, remarkably never descends into the sing-song quality so prevalent in tetrameter, primarily because Marlowe salts his lines with a variety of devices that complement the meter without drawing too much attention to its rigid regularity.Marlowes use of soft consonants (such as W, M, Em, F) to start lines, with the occasional feminine windup of an unstressed syllable (in the third stanza) lend a de clarificationful variety to an essentially regular and completely constituted form. In the first stanza, the Shepherd invites his love to pass off with him and pleasures prove (line 2.) This immediate reference to pleasure gives a mildly sexual tone to this poem, muchover it is of the totally innocent, almost nave harming. The Shepherd desexs no hint of a sordid type, but rather gently and directly calls to his love. He implies that the entire geography of the countryside of England Valleys, groves, hills and fields/Woods or steepy mountains provide prove to contain pleasure of all kinds for the lovers. This vision of the bounteous earth (reminiscent of the New Testaments admonishment Look at the birds of the air they neither sow nor reap nor gather into barns, and that your heavenly Father feeds them. Matthew 626) is a very common theme in pastoral rhyme. The idealization of rural life is essentially what separates pastoral poetry from simple rustic verse.Realism, which would not come into being as a poetic or literary style for many centuries after Marlowe, has little indue in pastoral verse. The next stanza suggests that the lovers will take their entertainment not in a theatre or at a banquet, but sit upon rocks or by rivers. They will watch shepherds (of which the titular speaker is ostensibly one, except here it is implied that he will have ample leisure) feeding their flocks, or listening to waterfalls and the songs of birds. The enticements of such auditory and visual pleasures underside be seen as a marked contrast to the hurly-burly (a p hrase Marlowe used in his subsequently play, Dido, nance of Carthage, Act IV, Scene 1) of the London stage plays which Marlowe would write. These are entirely bucolic, traditional entertainments the idea of Marlowe, the young man about t confess who chose to spicy in London, genuinely enjoying these rustic pleasures exclusively and leaving the city behind is laughable.Again, these invitations are not to be taken literally. Marlowe may well have admired pastoral verse, and the ideals of it (such as Ovids ideals of aggressive, adulterous heterosexual love) were not necessarily those he would espouse for himself. The third, fourth, and fifth stanzas are a kind of list of the delights, mostly sartorial, that the Shepherd will commit for his lady love. Here it becomes clearer that the Shepherd is really none of the same indeed, he is more like a feudal landowner who employs shepherds.The list of the things he will make for his lady beds of roses (a phrase, incidentally, first coined by Marlowe, which has survived to this day in common speech, though in the negative , no bed of roses meaning not a pleasant situation) thousand fragrant posies, cap of flowers, kirtle embroidered with leaves of myrtle, gown made of the finest wool/Which from our pretty lambs we pull, fair-lind slippers, buckles of the purest gold, belt of straw and ivy buds, coral clasps, and amber studs) denounce a great deal about the situation of the Shepherd and what he can offer his love. While certainly many of the adornments Marlowe lists would be within the world-beater of a real shepherd to procure or make (the slippers, the belt, possibly the bed of roses (in season), the cap of flowers, and the many posies, and possibly even the kirtle embroidered with myrtle and the lambs wool gown,) but the gold buckles, the coral clasps, and the amber studs would not be easily available to the smallholder or tenant shepherds who actually did the work of sheepherding.This increasingly fanciful list of gifts could lonesome(prenominal) come from a member of the gentry, or a merchant in a town. This is an early(a) convention of pastoral poetry. While the delights of the countryside and the rural life of manual(a) labor are celebrated, the poet (and the reader) is assumed to be noble, or at least above manual labor. The fantasy of bucolic paradise is entirely idealized Marlowes Shepherd is not a real person, but merely a poetic device to celebrate an old poetic ideal in verse. Incidentally, the plants mentioned (roses, flowers, and myrtle) are conventional horticultural expressions of romance. The rose, especially, was sacred to the goddess Venus (and it is how roses have come to comprise romantic love in some modern Western cultures.) The myrtle was associated with Venus, too, and especially with conjugation rituals in Ancient Rome. This connotation would have been known to Marlowes readers.The attribute of virginity should not necessarily be assumed here it was not for a few more centuries that myrtle would come to signize sexual purity. Therefore the kirtle embroidered with myrtle is not just a pretty rhyme and a word-picture of a desirable garment. It was meant to symbolize that this was a nuptial invitation, and that the Shepherds lady was not strictly defined (though she may well have been meant to be) a virgin bride. Myrtle was an appropriate nature symbol from the Greek and Roman mythologies (from which the first pastoral poems come) to insert into a love-poem. The image of the Shepherd as a member of the gentry becomes complete when, in the lead stanza, it is said The shepherd swains shall dance and sing/For thy delight each May-morning.The picture here is of other shepherds doing the speakers bidding. A rustic form of performance in the exonerated air and not on a stage is again in marked contrast to the kind of formal performance of plays on the Renaissance stage, which would make Marlowe famous at a very young age. The poem ends with an i f statement, and contains a slightly somber note. There is no guarantee that the lady will recuperate these country enticements enough to follow the Shepherd, and since the construction of them is preposterous and fantastical to begin with, the reader is left with the very real possibility that the Shepherd will be disappointed. AnalysisThe Passionate Shepherd to His Love was composed sometime in Marlowes early years, (between the ages of sixteen and twenty-three) around the same time he trans tardyd Ovids Amores. This is to say, Marlowe wrote this poem before he went to London to become a playwright. Thornton suggests that Marlowes poetic and dramatic career follows an Ovidian career model (xiv), with his amatory poems belonging to his youth, followed later by epic poems (such as Hero and Leander) and Lucans First Book). The energy and fanciful nature of youth is evident in Passionate Shepherd, which has been called an extensive invitation to rustic retirement (xv). It is headlon g in its rush of sentiment, though, upon examination, it reveals itself to be a particularly well-balanced piece of poetry. This poem is justly famous though it may not be immediately identifiable as Marlowes (it is often mistakenly thought to be a sonnet of Shakespeare, though that is incorrect in both authorship and poetic form) it has a place in most anthologies of love-poetry.It may well be the most widely recognized piece that Marlowe ever wrote, notwithstanding the popularity of certain of his plays. The meter, though seemingly regular, gives a great deal of meaning and music to this poem. In line 10 the iambic pattern, so far unbroken, reverses to trochaic (stressed, unstressed). The line is innocuous And a thousand fragrant posies there is no special meaning in this line that requires a complete reversal of the meter. yet it is a completely complementary line to the one above it (which contains an almost perfect match of nine iambic syllables), and creates movement and mo tion in the poem. This kind of temporary shift of meter makes the poem lighter to read, and, while preserving regularity, lessens any sing-song quality that might occur if too many regular lines appear in sequence. This skillful change is one of the reasons this poem is so often read aloud. It is musical and regular to the ear, but it is never rigid or predictable. Line endings, too, can create variety within regularity, and also call attention to the subject matter of the lines.The only stanza which contains the line ending termed feminine (that is, an additional unstressed syllable pastime the final stressed syllable while it may not have been called feminine in Marlowes day, the softer consonant at the end of a disyllabic word such as those in this stanza definitely can convey femininity) is the third. There will I make thee beds of roses This is done by using disyllabic words at the end of the line. The second syllable of most two-syllable words is usually an unstressed one. T hese lines all end with particularly feminine objects, too roses, posies, kirtle (a womans garment), and myrtle. It should be noted that every other line-terminating word in the entire poem is a monosyllabic one, with the lone exception of line 22, in which the masculine stressed ending is forced by the hyphenated construction May-morn ing. Marlowe chose his words with very great care. Scansion of poetry is never exact while lines 1 and 20 are often read as iambic, the rise (especially line 20) can easily be read as a spondee (two long syllables Come live with me and be my love/ rather than Come live with me and be my love/).A skillful and expressive reader might read this repeated line thusly, upon its second occurrence. The different stress would add imploring to the tone of the line (the emphases on the verbs come live and and be) and bespeak a slight desperation on the part of the Shepherd. If read the opposite way from the first line (spondaic rather than iambic) the meanin g of the line changes just enough to create a development of emotion. This is no mean feat in a poem only twenty-four lines in length. (Note that there is disputed stanza (second from the last) Thy silver dishes for thy meat which appears in some older editions the latest critical editions do not accept it.)At first glance The Passionate Shepherd To His Love can seem to be a nice piece of pastoral frippery. Considering that it was written, probably, in Marlowes late adolescence, and if read as a superficial exercise in the practice of a very old form of poetry, it can seem to be light and insubstantial. But any studied analysis of the poem reveals its depth the poem can be read as containing irony (as written by an courteous man who longed for the city rather than the country, and thus constructed impossible rustic scenarios), serious and heartfelt emotion, a slight political commentary, a gentle sadness, and a exceptional love of nature. Good poetry is often many things to diff erent readers, and Marlowe was able to create, within a codified (and one might say ossified) form of poetry a piece of clever and flexible Elizabethan verse. The Shepherd may not have been real, but the emotions and effects created by this poem have their own reality.