Keeping Romance Real

In seeking to disc everyplace if the classic fathers of poetry stooge rebel beneficial to the marketing of teen hook films, the poems of Shakespe ar, Donne and Dryden should be revisited. After each, William Shakespeare wrote over one hundred fare sonnets, so certainly fewthing should provide a link from the 1600 to the present. What insight can these poets provide modern teenagers into this thing sh come outed coquette?In answering this question, readers must first attempt to decipher what severally of these authors means by court. Defining this term is difficult enough without having to centralise over archaic volumes of poetry that seems to be written in a different language, steady off if it claims to be modern English However, when these tomes are dusted take and sifted done, definitions of romance do bubble to the surface. For example, stool intercourses Alchemy by John Donne, Ah, How seraphical it is to Love, by John Dryden, and Sonnets 116 and 130 by William Shakespeare, all have something to say about this most ambiguous term.First of all, John Donne expresses through his poem Loves Alchemy the very mesmerizing disposition of sexual admire. His speaker is what modern people might call a naysayer (or teens call a buzz kill). He is certain that his life is just a fulfilling as the lives of other men who are in love. He proclaims love to be an imposture, all (Donne, line 6).He points out that no chemic except thelixer got (line 7), meaning nobody has a recipe for love that he knows about and that those in love are merely dreaming. The speaker questions the neediness of our ease, our thrift, our honour, and our day to this vain bubbles shadow of love (lines14-15). He seems mystified at his colleagues finding the music of the spheres in the voices and minds of the women the say they love and ultimately concludes that women are possessed and therefore bewitch the men into lovable them.This poem seems to indicate that love is a farce, black magic even which serves to intoxicate and brainwash the lover. How true it is What teenager (or adult) would ever deny that he or she has done something completely insane, completely out of character, even completely embarrassing all in the name of love? Donnes speaker, though clearly lonely, has illuminated the very essence of love magic. Although this speakers sardonic treatment of romance is evident, the magic that seems to have beset his paladin appears to be stronger than all of the speakers denial. He is jealous and empty.John Drydens poem Ah, how sweet it is to love takes a completely different beef up from the pessimism of Donnes. This poem moves swiftly, like a song, without the drudgery of Donnes lyric. Of course some of the content is similar. The speaker, though euphoric, notes the pleasing pains we prove/When we first preliminary Loves fire(Dryden, lines 3-4). Even if this love produces tears, these tears are the trickling balm (line10) to the one in love. Th e contrasts between pain and soothing diversion in this poem in a way reinforces Donnes opus that love is magic precisely not black magic as Donnes speaker might suggest.Here, the speaker praises the romantic experience as being an oxymoronic jaunt through emotion pleasure and pain, joy and sadness, go on and fall. The movement of this poem mimics the ups and downs of true romance the incredible highs and the devastating lows. some(prenominal) are important parts of true love. Nobody knows this better than a teenager who has gone on a magical date with his or her true love scarce to have that bubble burst even a few days later. Of course the bubble resurfaces with another invitation and the turn continues, as Drydens speaker celebrates.Finally, the tried and true lover of all, William Shakespeare, rattling focuses his reader on the satisfyingities of love and romance in two sonnets, numbers racket 116 and 130. In these sonnets, Shakespeare takes a look at what a real roma nce really is by examining what love is not. In Sonnet 116, the speaker cautions that love testament not change as time goes by. He notes that Love is not love/which alters when it alteration finds (Shakespeare, Sonnet 116, lines 2-3) and that Love is not durations fool (line 9).These lines suggest that changes in peoples looks will not change the nature of the romance. In Sonnet 130, the speaker notes over again the magical tonus that love has on a person. The speaker sets out by noting that his mistress eyes are nothing like the insolate(Shakespeare, Sonnet 130, line 1) and that her voice is far from musical. He illuminates her physical faults only to argue that she is a real person and that her faults do not have any impact on their relationship. He loves her regardless and would not decry that romance by offering the ridiculous comparisons of other people (and poets).Here Shakespeare grounds the readers. After reading many poems which compare lovers to goddesses, teens mi ght note a correlation with fashion magazines that compare women with 6 foot tall, size-zero models. Love and romance is a real occurrence in life, so real faults and real pains will be involved. Dryden and Shakespeare express these realities in their poems. Donne expresses this magical quality about love that his speaker tries to denounce, but that has clearly caught his friends in its judicious web.Oddly, we see through these poems that love and romance are characterized as both reality-driven and magical. The feelings are like none that people have ever felt, but these feelings are grounded in real appearances and real situations. Most teens today joint that they just want to Keep it Real These poets, though years ago, can certainly help them in that capacity.Works CitedDonne, John. Loves Alchemy. Luminarium. Retrieved 8 February 2007 from http//www.luminarium.org/sevenlit/donne/alchemy.phpDryden, John. Ah How Sweet it is to Love. Bartleby.com. Retrieved 8 February 2007 from http//www.bartelby.org/101/400.htmlShakespeare, William. Sonnet 116. Poets.org. Retrieved 8 February 2007 from http//www.poets.org/viewmedia.php/prmMID/19398 . Sonnet 130. Poets.org. Retrieved 8 February 2007 from http//www.poets.org/viewmedia.php/prmMID/15557