Essay - Gender Criticism of Poetry: to His Coy Mistress' by Andrew...


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Gender Criticism of Poetry:

To his Coy Mistress" by Andrew Marvell versus "When I am dead my dearest" by Christiana Rossetti—A masculine defiance of mortality through sexuality, a fem*****le acceptance ***** the inevitable nature of death

When examining ***** poem "To his Coy Mistress" by ***** Marvell, in comparison to the ***** "When ***** am dead my dearest" by Christiana Rossetti one can see that, although both explore a similar theme of the transience of human sexual life and physical, romantic love in the face of mortality each poet approaches this ********** in very different ways, based on the gendered approaches ***** ***** author *****wards sexual c*****gress and religious faith. At first, it might *****m to be unfair to compare the male Cavalier poet with the Victorian member of the Oxford Movement Christina Rossetti. Marvell lived an active life as a court poet, soldier, ***** adventurer. ***** ***** a quiet and retiring life at home, ***** did most women of her day, although she was intimately involved in ***** pre-Raphaelite movement spearheaded by her brot*****, Dante Gabriel Rossetti. (Marsh, 1995)

However, both poems take the form of apostrophes or addresses in the mind of the poet, to an absent *****r. Rossetti's alternative title for her work is "song" or a lyric voice to the *****'s lover *****fter her *****, while Andrew Marvell's speaker in "To His Coy Mistress" *****vokes "Petrarch***** convention, a poetic mode origin*****ting in ***** fourteenth century ***** which a ***** ***** uses ex*****ggerated metaphors to appeal to his female beloved." (Ephraim, p.1)

Yet in contrast ***** Rossetti, Marvell begs his beloved to engage in a tryst with him bec*****use of the transient ***** of human life. Through *****ity, Marvell states, ***** beings may avoid or at least may defy death.

***** the poet states, his mind is constantly filled with thoughts of ***** impending demise, and of the shortness ***** human life, both his own and his mistresses.' at my back I al***** hear

***** wingèd chariot hurrying near;

And yonder all be*****e us lie

Deserts of vast eternity.

***** poem's ***** famous lines are:

Thy beauty shall no more be found,

*****, in thy marble vault, shall sound

My echoing song; then worms shall try

That long-preserved virginity,

And your quaint ho*****r turn to dust,

And into ashes all my lust:

The grave's a fine *****nd private place,

But none, I think, do there embrace.

***** *****, ***** *****gins her poem with these lines. "When I am ***** ***** *****, sing no sad songs for me." *****n contrast to the ***** speaker ***** Marvell's poem, Rossetti accepts death and how ***** ends love and ***** physical desire, ra*****r than desiring to, as Marvell does:

Let us roll all our strength and *****

Our sweetness up into one ball,

And tear our pleasures ***** rough strife

T*****ough the iron gates of life:

*****, though we can*****t make our sun

Stand still, yet we will make him run.

In comparing these two apostrophic poems to the poet's lovers,

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