Wednesday, April 24, 2019

Explanation and Question/ Answer of some poem (The Def Love/Coy and Mistress Poem)


To his Coy Mistress

  1. Had we but world enough, and Time,
            This coyness Lady were no crime.

Answer:  These lines have been taken from the poem “To his Coy Mistress” by Politician, diplomat, poet and satirist, Marvell. He had a keen and often biting sense of humor; there are several fine examples in "To his Coy Mistress.
     The speaker starts off by telling the mistress that if there was enough time and enough space ("world enough, and time"), then her "coyness" (see "What’s up with the title" for some definitions) wouldn’t be a criminal act. This is a roundabout way of calling her a criminal, and makes us think of jails, courtrooms, and punishments.
  The speaker begins by constructing a thorough and elaborate conceit of the many things he "would" do to honor the lady properly, if the two lovers indeed had enough time. He posits impossible stretches of time during which the two lovers indeed had enough time.
  
2. My Vegetable love should grow
Vaster than Empires, and more slow.

Answer: These lines have been taken from the poem “To his Coy Mistress” by Politician, diplomat, poet and satirist, Marvell.  Here marvell wanted to tell  "vegetable love" is "organic love" – love without the pressure of anything but nature, a natural process resulting in something nourishing – vegetables. Marvell’s ‘vegetable love’ imagery has been interpreted in numerous ways, but nowhere have I found the truly plausible. What is more obvious than anything else is that ‘vegetable’ grows ‘up’ excising the layers of ground, towards the sky.  

3. Time's winged Charriot hurrying near;
       And yonder all before us lie
        Deserts of vast eternity.

Answer:
These lines have been taken from the poem “To his Coy Mistress” by Politician, diplomat, poet and satirist, Marvell.  Here the speaker hears something behind him: "Time’s winged chariot," to be exact. He’s being chased down by Time’s hybrid car! He doesn’t say who’s driving, but we can assume it’s probably Time.
We saw  in the second line that the speaker seems to have a hallucination.  He also tells the mistress, look at all this sand. The future is just endless sand and we’re all going to die.



4. And now, like am'rous birds of prey
  Rather at once our Time devour
  Than languish in his slow-chapt pow'r.

Answer: These lines have been taken from the poem “To his Coy Mistress” by Politician, diplomat, poet and satirist, Marvell. Here the poet want to tell that they should pretend to be birds of prey, mating! Also, the word "prey" introduces violence, and therefore uneasiness, into the scene. But, before the games begin, we should have a little pre-mating dinner. In the second line the poet  tells, honey, try this seared fillet-o-time, on a bed of vegetable love.
And for dessert – time capsules! See, time deserves to be eaten.
   In the last line of the tree, the poet want to tell  that Time exerts its "slow-chapped power" over the speaker for far too long. According to the Norton Anthology of English Literature, "slow-chapped power" means "slowly devouring jaws." In short, he feels like he’s dying in Time’s mouth, and that time is slowly eating him up. He wants to turn the tables, and thinks that sex, or so he tells his mistress, is the way to get time under his control.


  1.  Vegetable love
Answer:
  "vegetable love" is "organic love" – love without the pressure of anything but nature, a natural process resulting in something nourishing – vegetables. Marvell’s ‘vegetable love’ imagery has been interpreted in numerous ways, but nowhere have I found the truly plausible. What is more obvious than anything else is that ‘vegetable’ grows ‘up’ excising the layers of ground, towards the sky.  

2.                  Time winged chariot  

Answer:  A phrase from the seventeenth-century English poem “To His Coy Mistress,” by Andrew Marvell.

 In the second stanza, the speaker shifts to images of swiftly passing time to impress upon his love that they in fact do not have the leisure to love at this slow rate.He says. Now time is destructive, and the meter moves rapidly. The speaker resorts to images of decay that are at once whimsical and frightening as he attempts to convince the beloved of the need to consummate their love in the present.

3.                   Seize the day (moment) or carpe diem.

Answer: "Carpe diem," as you probably already well know, means "seize the day" or, less literally, "make the most out of the time we have." The phrase is often credited to the Roman poet Horace (or Quintus Horatius Flaccus). It's a pretty common sentiment in literature. For example, Henry David Thoreau talks in Walden about "want[ing] to live deep and suck all the marrow out of life."
     The speaker wants a woman to go along with what he wants, which is her now. The   sentiment of "carpe diem," apparently, can be either thoughtful or superficial.

4.                  Thorough the iron gates of life:

Answer:
It makes sense from the speaker’s perspective. He claims to believe that sex is the way to another world, a way to break out of the prison of time.  The iron gates could well be the barrier, the threshold, through which the speaker wishes to emerge. He sets the imperative. If they come together then who knows what will happen? Common sense and the logic of time will no longer dictate their lives.

5.                  his slow chapt power. (slow - poison)
Answer: the poet want to tell  that Time exerts its "slow-chapped power" over the speaker for far too long. According to the Norton Anthology of English Literature, "slow-chapped power" means "slowly devouring jaws." In short, he feels like he’s dying in Time’s mouth, and that time is slowly eating him up. He wants to turn the tables, and thinks that sex, or so he tells his mistress, is the way to get time under his control.

6.                  Explain /if / but/ so.

Answer: Marvell actually directly provides the answers to these questions in his poem: it can be divided into "if," "then," "but," and "therefore" sections, except that he has used different words to introduce some of them.
The first line of the poem, "Had we but world enough and time," is the "if" section. This could be rephrased as, "If we had all the time in the world and all the possible opportunity."
He follows this up with the "then" response: "This coyness, lady, were no crime." So, Marvell is saying, if we had all the time in the world, then it wouldn't matter that you, the mistress, are being so coy and refusing to advance beyond the courtship stage.
For several lines, Marvell describes what he would do if this were the case. However, then he brings up the "but" issue: "But at my back I always hear / Time's winged chariot hurrying near."
Here, then, the poet is saying that he wishes they did have all the time in the world,but he's very conscious that they don't and that soon enough, he and his beloved will both be dead, after which it will be too late for them to consummate their love.
To summarize, then, and put all the parts of the equation together as a paraphrase:
If we had all the time in the world, then it wouldn't matter that you want to take your time about this courtship. But unfortunately I'm very conscious that we're both mortal and can't be coy forever, therefore we should make love now, while we still can.



The definition of Love
  1. My love is of a birth as rare
As ’tis for object strange and high;
It was begotten by Despair
Upon Impossibility.

Answer: These lines have been taken from the poem “The definition of Love” by Politician, diplomat, poet and satirist, Marvell. Here the poet want to tell that he begins with the three dimensional allegorical figures: Despair, Hope and Fate that control love of the whole world. The poem begins with the highly intellectual conceit. And at the beginning of this poem the poet says that the love of the poet has a rare parentage: and its aim is exceptionally strange and sublime. His love, the poet says, is the offspring of Despair and impossibility.It was so divine a thing as his love.



Question
  1. Magnanimous Despair
Answer: The poem, The Definition of Love talks about the nature of the love, which exists between the poet and his beloved. The poet regards this love as being perfect and therefore unattainable.

  Marvell says that 'magnanimous despair' was what showed him a love 'divine', whereas 'feeble hope' couldn't have. Magnanimous Despair is an oximoron, which means that two opposite things are brought together and here it reveals the nature of love as Marvell describes it. The love he feel is all the more beautiful because he cannot have it. Through his despair he can see how precious love really is and how beautiful, whereas hoping for love would only have kept him at the surface of the emotion.

2.                  Tyrannical power.
Answer: The poem, The Definition of Love talks about the nature of the love, which exists between the poet and his beloved. The poet regards this love as being perfect and therefore unattainable.


     A tyranny is a cruel, harsh, and unfair government in which a person or small group of people have power over everyone else. The poem called The Definition of Love points the irony of a condition in which perfect love is begotten by despair, and defined precisely by the impossibility of its fruition. To consummate such a love would be to deny or abolish altogether our present state and depose the tyrannical power of fate itself.

3.                  Tinsel wing.
Answer: The poem, The Definition of Love talks about the nature of the love, which exists between the poet and his beloved. The poet regards this love as being perfect and therefore unattainable.


   In a sense, our inability to know the future frees us to act in the present, without being distracted by the ' Tinsel Wing' of 'feeble Hope’. Only high-minded or resolute Despair could produce in me so noble a feeling as my love. Hope in the case of my love proved to be weak, like a bird with gaudy but feeble wings. Hope did try to promise fulfilment to me, but its effort was futile. This love of mine could never have been fulfilled.

4.                  What do parallel line oblique line.
Answer:The poem, The Definition of Love talks about the nature of the love, which exists between the poet and his beloved. The poet regards this love as being perfect and therefore unattainable.

    
    Only oblique lines can meet each other in all geometrical angles. In the same way, only two illicit or guilty lovers are able to meet each other.

5.                  Why had poets chosen 3 condition for them to be united.
Answer: The poem, The Definition of Love talks about the nature of the love, which exists between the poet and his beloved. The poet regards this love as being perfect and therefore unattainable.


   His love can be achieved only if three conditions are fulfilled: first, the spinning planets must collapse; second, the earth should be torn asunder by some fresh convulsion; and third, the whole world should be projected or flattened into a planet.





The Garden

1. Society is all but rude,
To this delicious solitude.
Answer:  These lines have been taken from the poem “The definition of Love” by Politician, diplomat, poet and satirist, Marvell. Here the speaker tells that  society can't compare to being alone in the great outdoors.
   The mention of "solitude" in line 16 catches our attention. The speaker isn't just trying to escape the hustle and bustle of city life; he's saying "I want some 'me time' out here in the country and don't anyone even think of trying to tag along." It seems that the only way to stay truly removed from society is to have no company at all.



2. But ’twas beyond a mortal’s share
To wander solitary there:
Two paradises ’twere in one
To live in paradise alone.
Answer:
 These lines have been taken from the poem “The definition of Love” by Politician, diplomat, poet and satirist, Marvell. The speaker seems resigned to the fact that his dream of solo Paradise will never actually come true, but that doesn't mean he's giving up the chase. Lines 63 and 64 are super-famous. They essentially say that living in Paradise would be great, and living by yourself would be Paradise. Lines 63 and 64 sound kind of like an aphorism, or proverb? They make a profound point, but do it in an incredibly concise, clean kind of way. This is very typical of Marvell's poetry. He picked the style up from classical authors, but always makes sure to mellow out the terseness with a little flowery language. That way, the poem sounds succinct and clean without becoming too harsh.




     Easter Wings

1.   O let me rise
 As larks, harmoniously,
 And sing this day thy victories:

Answer:   These lines have been taken from the poem “Easter Wings” by George Herbert. The speaker has just asked God to let him rise harmoniously like a lark and now he formalizes his request for a bit of music. He wants to be allowed to sing his worship, in particular, the "victories" of God, to which we say, belt it out, buddy! Since he's already referenced Easter with Christ rising in lines 6 and 7, "victories" pretty clearly = Christ's resurrection and triumph over both death and sin.

2.   For, if I imp my wing on thine,
Affliction shall advance the flight in me.

Answer: These lines have been taken from the poem “Easter Wings” by George Herbert.The speaker explains his meaning more clearly in this line, turning again to his feathered friends.This time, however, he uses hawks instead of larks and, instead of just rising with God, he asks for an extra boost: he wants to "imp" his wing to God's. This implies (eh? eh?) that the speaker is too damaged by sin, too thin and sick, to fly properly on his own. He needs some of God's feathers to strengthen him. "Advance" here means "increase." You've got beautiful I's, Herbert: "if," "I," "imp," "wing," "thine." We've also got two groupings of assonant I's: the long I's of "I," "my," and "thine" and the short I's of "if," "imp," and "wing." And for more on how all these A's put the "a" in "alliteration" and "assonance," head down to "Symbols, Imagery, Wordplay."



The Pulley

  1. When almost all was out, God made a stay,
            Perceiving that, alone of all his treasure,
             Rest in the bottom lay.

Answer:
These lines have been taken from the poem “The Pulley” by George Herbert. God endows man with an abundant life enriched with the gratification of the senses, the pleasures of the mind, the wonder of beauty, and the compliments of praise. God empties and pours with open handed profusion but withholds one last blessing that remains in the cup: peace (“Rest in the bottom lay”). God’s love and wisdom complement each other. To grant man rest in addition to other blessings separates God and man and eliminates the communion between the Creator and his creature.







The way of the world by William congreve

1. All Major Character?
Answer:
Mr. Fainall (Fainall/Fain.)
Mr. Fainall is a married man, but his closest relationship is to his mistress, Ms. Marwood. He plots to get money out of his wife's mother, Lady Wishfort, after finding out from his mistress that his wife, Mrs. Fainall, married him while in a relationship with Mirabell.
Mr. Edward Mirabell (Mirabell/Mir.)
A young man, once a womanizer, is now honestly in love with Mrs. Millamant, a young, attractive, intelligent woman. He is perhaps the closest to a protagonist in the play, and drives the plot with his scheme to get Ms. Millamant's aunt, Lady Wishfort, to approve a marriage between them.
Anthony Witwoud (Withwoud/Wit.)
Anthony Witwoud is a suitor of Ms. Millamant and half-brother to Sir Wilfull Witwoud. He serves as a supporting, comedic character.
Petulant (Pet.)
Petulant is another suitor of Ms. Millamant, and is often seen with Witwoud. He is another supporting, comedic character, especially for his ineptitude with speech and wit.
Sir Wilfull Witwoud (Sir Wil.)
Sir Wilfull is half-brother to Anthony Witwoud and nephew to Lady Wishfort. He comes to town to prepare to go abroad, but is swept up in the plot because Lady Wishfort wishes him to marry Ms. Millamant. He is a bumbling man, inept with the social fashions of the town and with attempts to pursue Ms. Millamant romantically.
Waitwell (Wait.)
Mirabell's servant. In accordance with Mirabell's directions, he marries Foible, Lady Wishfort's servant, but then pretends to be a well-bred man named Sir Rowland to trick Lady Wishfort into a fake engagement.
Lady Wishfort (Lady Wish.)
Lady Wishfort is a bitingly mean, witty, wealthy, old lady. She is the aunt of Miss Millamant and controls half, 6,000 pounds, of Millamant's inheritance. She is uncomfortable with her age and looks, and this allows Mirabell's plot with the fake Sir Rowland to succeed as far as it does.
Mrs. Millament (Miss Millament/Mrs. Mil)
Ms. Millament is the young lady whom Mr. Mirabell and many others love. She has a large inheritance of 12,000 pounds, but is attempting to secure half of it which is held by her aunt, Lady Wishfort. However, Lady Wishfort wants Ms. Millament to marry Sir Wilfull Witwoud.
Mrs. Marwood (Miss Marwood/Mrs. Mar.)
Mrs. Marwood is the mistress of Mr. Fainall, a married man. She is a nosy woman, bitter because her love for Mirabell is not returned, and this leads her to reveal his scheme to Fainall and later Lady Wishfort herself after overhearing it while in a closet.
Mrs. Arabella Fainall (Mrs. Fain.)
Mrs. Fainall had a relationship with Mirabell before marrying Fainall, and is still friends with him and an aid in his scheme. She is daughter to Lady Wishfort, so their reputations in the climax are closely tied.
Foible (Foib.)
Foible is servant to Lady Wishfort and is integral to Mirabell's plot, marrying Waitwell and then introducing the idea of Sir Rowland to Lady Wishfort.

2. The way of the World as a comedy of manner?
Answer:
The Way of the World is developed as a comedy, written by William Congreve, in keeping with the conventions of the Restoration comedy of manners. These comedies, following Cromwell's government and the restoration of a king in England upon the return of Charles II to the throne in 1660. George Farquhar was another Restoration comedy playwright. Restoration comedy, seeming to be a backlash to Cromwell's rigid religiosity, features sexual adventures and misadventures; marriages of convenience within strict constraints of behavior; affairs, jealousies and coy coquettes. Congreve wrote neither to alter nor condemn but to give an accurate glimpse of the background villainy underpinning superficially impeccable social deportment.

He uses the comedic dramatic devices of counterplot, the foil, comic relief, hyperbole and impersonation with disguise. His settings allow views of men collected together; couples in public places with private conversation; and a house in which private places allow for hiding from and spying on the social relationships that are conducted within its walls. Counterplots repeat the theme of the main drama. The foil stands in contrast with the hero making the hero's virtues look better in light of the foil's bad qualities. Comic relief interrupts the tragedy at the heart of good comedy by reducing the danger or tension to a point of ridicule or hilarity. Hyperbole works with understatement, the former being exaggeration and the latter being ironic restraint, to expose the ridiculousness of social convention and cultural stereotypes. Impersonation is familiar as a standard Shakespearean device in which one person pretends to be another for the purpose of manipulating events to reach their own desired ends (e.g., Shakespeare's Viola, Rosalind, Hero).

3. Roll of Servant?
Answer:
The servants; Waitwell (Mirabell's male servant) and Foible (Lady Wishfort’s female servant) announce their marriage at the beginning of the first act. Later in the play, Waitwell becomes a part of the plot to gain approval for the marriage of Mirabell and Millamant. To do so, he plays the part of one Lord Rowland in an attempt to compromise Lady Wishfort, and thus force her hand into agreeing to the young people's marriage. Waitwell gets arrested for his troubles. Numerous attempts at blackmail and Lady Wishforts desire to save herself from social disgrace eventually bring the play to its conclusion , and the young people are allowed to be wed and Mirabell's inheritance is intact.


6. Contemporary society?
Or What does the Restoration audience's reaction to the play say about society at that time? What does the play's contemporary success say about audiences after that time and about the play itself?

Answer: Despite Congreve's focus in the dedication, prologue, and epilogue on audiences giving The Way of the World fair criticism, the play was not successful at the time. This is generally attributed to its bawdiness, with scholars noting that audiences felt the plot and dialogue gratuitously sexual. However, Congreve might also point out that audiences are quick to criticize, especially when they feel that the satire in a play is pointed at them. Because later audiences are able to feel more distant from the characters and context of the satire, this allows them to appreciate the humor and intrigue of the play, especially because society has become less prudish on issues of sexuality. However, the play could not be as successful as it has become if much of the satire (the focus on gossip, discussions of same-gender friendships, and the intermingling of problems of love, money, and reputation) did not continue to ring true in modern parallel.












The collar
-----------------------------------------------------------------------------------------------------------------

Methought I heard one calling, Child!
          And I replied My Lord.

Answer: These lines have been taken from the poem “The Collar” by George Herbert.The poem is a series of passionate questions put to God in which the speaker seems to be questioning his faith. In the last few lines, the tone changes to that of acceptance and obedience. The rebellious rant is over, and the speaker responds to God’s call and submits himself to God’s power. The final lines reduce the former rebellion to a childish status as the narrator re enters his dutiful relationship with God.


4. Roll of love and marriage?
Answer: William Congreve is one of the greatest playwright of restoration period. The way of the world is a world famous comedy of manners. It deals with the theme of love and marriage. In this play, we find love affair. We meet true love making and false love making. Unhappiness in marriage and desire for divorce for the sake of money and property are also obvious.
we find that wait well is married to foible, Mr. fainal and Mrs. fainal are leading a conjugal life.Mr.Mirabell is going to marry Mrs. Millamant. Actually, money and property are based on love and marriage. But love and marriage are based on property.

The love affair between the hero and heroine is the central figure in the play.Mr Mirabell loves Mrs millamant with all her fault.He says that All the fault of Mrs. Millamant have become familiar to him. Yet he loves her.On the contrary, Mrs. Millamant knows that her husband, Mr. Mirabell is not perfect.
There is a good relation between them. From the very beginning , Mr. Mirabell loves Mrs. Millamant and tries to come close to Mrs. Millamant. As a result their love develops in marriage.
The love affair between Mr.Mirabell and Mrs. Millamant is one sided.Mrs. Marwood loves Mr.mirabell and tries to win her love. But Mr. Mirabell does not response . so she becomes his enemy.
Mr. fainal and Mrs. fainal are husband and wife. Their marriage is very interesting. In ‘the way of the world’, we see that Mrs fainal is the daughter of lady wishfort. She is at first married to languish. Unfortunately her husband dies.After the death of her husband, she becomes Mistress of Mr. Mirabell. So she becomes pregnant by him. Mr. Mirabell condrives her marriage with Mr.fainal with her money. By tempting with money , Mr. fainal agrees to marry her.Mrs. fainal also agrees to marry him so that her child can get its father name. Mr. Mirabell also tempts mr.fainal that after the death of lady wishfort, he will inherit the money and property of lady wishfort. Mr. fainal becomes greedy after wealth. He demands the wealth of his wife and threatens if lady wishfort does not pay , he will divorce his wife.
Mr. Mirabell is the hero of the play. He is young. He arrange another marriage for his own interest. waitwell is married to foible who is the servant of lady wishfort.Mr.waitwell is the maid man of Mr. Mirabell. Actually waitwell does not attract to Foible. He does not marry her as his own choice but the choice of his master, Mr. Mirabell. He is ordered to marry her by Mr. Mirabell. He does not feel any attraction to her. He only wants to meet his sexual hunger.
Thus congreve wants to show that such marriage is unable to bring happiness too.
In the play , we find that Mr. mirabell and Mrs. Millamant are engaged in lovemaking.we see that the lady wishfort is an aristocratic lady of fifty five. she is humiliated and left by her lover, Mr. Mirabell.so she wants to take revenge upon him and arrange the marry between Sir rowland and Mrs. Millamant. when it is known to her the real identity of Sir Rowland, he arrange the marriage between Sir willful witwoud and Millamant.
To sum up, we can say that Congreve has expressed his philosophy about love and marriage.




5. Condition seene?































2.Therefore the love which us doth bind,
But Fate so enviously debars,
Is the conjunction of the mind,
And opposition of the stars.
Answer: These lines have been taken from the poem “The definition of Love” by Politician, diplomat, poet and satirist, Marvell. The word ‘conjunction‘ here is so important. The idea of universal love and the natural essence in human that makes him a creature capable of loving, binds the lovers together in the love knot but in the way conjunction binds two sentences. Two things are connected together with an ‘and’ or ‘or’ which denotes both of them are active separately, and both them are of similar potentiality, potent to be used according to the demand of circumstance, respectively. Love is this conjunction that binds two minds together, and fate produces the consciousness of gap in that conjunction. Fate is compared with the gap between the stars, that are almost similar in size and light, and same formally, but yet distant from each other. All of them share the light (all the lovers share the love), but none can be completely one with the other (as the love expressed in two individuals cannot make them be absolutely together, because their love is not the absolute-essential-love: the timeless idea of Love that does not depend upon the actors).



conceit of some poetry


The Good Morrow
By- John Donne

1.     Or snorted we in the Seven Sleepers’ den?
Answer: There famous Biblical seven sleepers, who slept for 187 years. Donne uses the legend of the Seven Sleepers to reinforce the poem's central conceit. The speaker and his lover have spent their whole lives as if in a deep slumber, but they have woken up at long last and realized that they belong to each other. This is not just an expression of their intense physical passion; it also represents a true spiritual awakening of the lovers' respective souls.

2.  But sucked on country pleasures, childishly?
Answer: As the poem opens the speaker, after being woken up together from the night spent together, tells his beloved before they met each other what they had done was all childish play. They were merely babies nursing from the mother’s breast and indulging in country pleasures. He reflects that those parts of their lives to be as worthless as the ones spent in slumber by the seven sleepers of Ephesus.

Twicknam Garden
By John Donne

  1.  Make me a mandrake, so I may grow here,
Or a stone fountain weeping out my year.
Answer: Mandragora root was supposed to promote fertility, as well as resembling a human form. The imperative ‘make’ emphasizes Donne’s desire to escape into nature and maybe to grow there, perhaps to convey his misery and anger.


A valediction: Forbidding mourning

  1. If they be two, they are two so
 As stiff twin compasses are two;

Answer:  Donne employs a mathematical metaphor with the instrument of a compass that was used on maps to measure distance. In this metaphor, like the gold that is refined into a thinner, more beautiful piece, the one leg of the compass anchors the other that stretches for [travels] across the map, leaning some to accommodate the reach of the other leg, and strengthening the extension of this leg. Through the two metaphors of gold and the compass, both of which are "refined" or made better by the poet's distance from his wife, a distance that strengthens their spiritual love.

     2.     Our two souls therefore, which are one,
           Though I must go, endure not yet
          A breach, but an expansion,
           Like gold to airy thinness beat.
Answer:  As seen above, their souls can not be separated but only expanded with the space that divides him.  He moves on to argue that, if they do indeed have two separate souls, those souls are so interconnected that the same is true - they can never really be "apart."  No matter where one of them goes, the other will be a foot that grounds the other soul in place so that it may return, as in a circle:

The Definition of love

“  Where feeble Hope could ne’r have flower
    But vainly flapt its Tinsel Wing”.
Answer: In a sense, our inability to know the future frees us to act in the present, without being distracted by the ' Tinsel Wing' of 'feeble Hope'(' The Definition of love', lines 7-8).

As lines, so loves oblique may well
Themselves in every angle greet;
Answer: Only oblique lines can meet each other in all geometrical angles. In the same way, only two illicit or guilty lovers are able to meet each other.

To his Coy mistress

  1. My Vegetable love should grow vaster then Empires and more slow
Answer;  "vegetable love" is "organic love" – love without the pressure of anything but nature, a natural process resulting in something nourishing – vegetables. Marvell’s ‘vegetable love’ imagery has been interpreted in numerous ways, but nowhere have I found the truly plausible. What is more obvious than anything else is that ‘vegetable’ grows ‘up’ excising the layers of ground, towards the sky.  

2.  Times winged Charroit

Answer:  the speaker shifts to images of swiftly passing time to impress upon his love that they in fact do not have the leisure to love at this slow rate.He says. Now time is destructive, and the meter moves rapidly. The speaker resorts to images of decay that are at once whimsical and frightening as he attempts to convince the beloved of the need to consummate their love in the present.

3.  And now, like am'rous birds of prey
  Rather at once our Time devour

Answer: they should pretend to be birds of prey, mating! Also, the word "prey" introduces violence, and therefore uneasiness, into the scene. But, before the games begin, we should have a little pre-mating dinner.the poet  tells, honey, try this seared fillet-o-time, on a bed of vegetable love.

Easter Wings
--George Herbert

i) For, if I imp my wing on thine, affliction shall advance the flight in me.

Answer: The speaker explains his meaning more clearly turning again to his feathered friends. This time, however, he uses hawks instead of larks and, instead of just rising with God, he asks for an extra boost: he wants to "imp" his wing to God's. What the heck is "to imp"? It's a technical term meaning to repair a damaged feather by attaching part of a new feather. This implies (eh? eh?) that the speaker is too damaged by sin, too thin and sick, to fly properly on his own. He needs some of God's feathers to strengthen him.
Just as Adam's fall increased the distance of his flight in stanza 1, now his own affliction (his sin and God's punishment) lengthens his flight. "Advance" here means "increase." You've got beautiful I's, Herbert: "if," "I," "imp," "wing," "thine." We've also got two groupings of assonant I's: the long I's of "I," "my," and "thine" and the short I's of "if," "imp," and "wing." And for more on how all these A's put the "a" in "alliteration" and "assonance," head down to "Symbols, Imagery, Wordplay."

The Pulley
By George Herbert
  1. “Yet let him keep the rest,
But keep them with repining restlessness;

Answer: “Rest” in the Christian tradition is one of God’s gifts. Jesus said “Come to me all that are weary and carrying heavy burdens, and I will give you rest.” (Matthew 11.28) “Rest” is also used as a picture of the destiny God promises to those who walk in His way, a picture of heaven. It is a precious “jewell”.

2. When God at first made man,
    Having a glass of blessings standing by,
Answer: God's (apostrophe is implied) breath in man returning to his birth refers to God breathing life into the first man, Adam. These ideas of the covenant and breathing indicate a dialogue and an ebb and flow between God and humanity. From heaven down to Earth, God breathed life into man. In response, in 'prayer,' man speaks back to God by praying. The prayer itself is the "soul in paraphrase," the "heart in pilgrimage." The one praying is essentially speaking to God via his/her soul.

The Collar
--George Herbert

  “I struck the board, and cry’d. No more.”

Answer: Here the board stands both for the dining table and for alter. Being a priest, Herbert has the duty of giving the sacrament of Holy Communion.











The Retreat
BY HENRY VAUGHAN

     Before I understood this place
Appointed for my second race"

Answer:
here means life, in reference to belief of some Christians that the soul had a heavenly existence before life in this world
This could not only mean a childhood state of innocence and ignorance, but his pre-conceived soul--a kind of Garden of Eden pre-fall state of grace.
It would seem, in Christian theology, that the best way for a grown man to attain heavenly perfection is to die and ascend to heaven, moving forward in age.  But, Vaughan wants to go backward, to negate all his past sin and be washed clean from the start:
Some men a forward motion love, But I by backward steps would move And when this dust falls to the urn,  In that state I came, return.
Christians usually pride themselves on choosing the most difficult path, and Vaughan here is no different.

2. When yet I had not walked above
    A mile or two from my first love,
Answer: In the next section of the poem the speaker goes on to describe what his life was like before he strayed far from home. It was during this period that he “had not walked” more than a “mile or two from” his “first love.” He had not seen very much of the world at this point and knew nothing about its dangers.

3. Oh how I long to travel back,
And tread again that ancient track!
That I might once more reach that plain,
Where first I left my glorious train...
Answer: Here he expresses his desire and fervent hope that he might venture back to where he originally came from, likening his life to a journey and hoping that the end destination will be from whence he emerged. Thus the central metaphysical quality of this poem is its use of a conceit to liken life to a long journey.

Regeneration
 1.    Yet was it frost within/And surly winds/Blasted my infant Buds, and sin/Like clouds eclips'd my mind

Answer: The inner winter of sin continues into the second stanza, but the child now becomes a pilgrim who, wondering what he has gotten out of life, realizes that he has not kept his values.  In the Biblical allusion to "Jacob's Bed," --Jacob turned from his brother Esau and saw a ladder to Heaven-- the speaker has a "vision," too:  his spiritual enlightenment.

  2. “Lord,” then said I, “on me one breath,
   And let me die before my death!”

    Answer:   Vaughan offers the contradictions inherent to Christianity, one such contradiction that man must die in order to live. In this case the death is that of man's sinful nature. Thus the speaker asks that his sin die before he physically dies, so that he may die in a state of redemptive grace and achieve spiritual life.