29
The emotional state of the speaker in Sonnet 29 is one of depression: in the first line, he assumes himself to be "in disgrace with fortune," meaning he has been having bad luck. He also feels in disgrace with "men's eyes," implying that the general public looks on him unfavorably. This could be real or imagined, but it is enforced in line 2, when he bemoans his "outcast state." Here, "state" refers to a state of being, and in this case, he is cast out from society.
Lines 3-4 make allusion to Job of the Old Testament in the Bible, who was cast out onto a dung heap and called to a God who didn't listen. The poet finds himself in the same situation: Heaven personified is God, and in this case he is "deaf," making the poet's cries "bootless," or useless. The idea of cursing one's fate also hearkens to Job, who cursed himself after falling out of God's favor.
The speaker finds himself envying what others have, and in lines 5-9 he sees almost everyone as having something he lacks. He wishes to be like "one more rich in hope," perhaps meaning hopeful or literally wealthy; "featured like him," refers to someone who is handsome, with beautiful features; and another is "with friends possessed," or popular, unlike the poet (as has been established in the first two lines). In line 7, he envies the artistic talent of one man, and the opportunities afforded someone else.
The simile of a lark is developed in lines 10-12, when the speaker describes the effect that a thought of his love has on his "state," or emotional well-being. The fact that the lark rises from the "sullen earth" at "break of day" implies that the day is much happier than the night; day break is compared to the dawning of a thought of the beloved. As the lark "sings hymns at heaven's gate," so the poet's soul is invigorated with the thought of the fair lord, and seems to sing to the sky with rejuvenated hope.
The final couplet of Sonnet 29 declares that this joyfulness brought about by a thought of the fair lord is enough to convince the speaker that he is better off than royalty. Here, "state" is a pun: it carries the meaning of emotional well-being, as it did earlier in the poem, and suggests that the love of the fair lord makes the speaker so happy that all the wealth of a king would not be better. But it also refers to a nation, or a kingdom.
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My mistress' eyes are nothing like the sun;
Coral is far more red than her lips' red.
If snow be white, why then her breasts are dun;
If hairs be wires, black wires grow on her head.
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And in some perfumes is there more delight
Than in the breath that from my mistress reeks.
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My mistress when she walks treads on the ground.
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published in his 1633 collection Songs and Sonnets. Written while Donne was a student at Lincoln's Inn, the poem is one of his earliest works and is thematically considered to be the "first" work in Songs and Sonnets. Although referred to as a sonnet, the work does not follow the most common rhyming scheme of such worksa 14-line poem, consisting of an eight-line stanza followed by a six-line conclusionbut is instead 21 lines long, divided into three stanzas. "The Good-Morrow" is written from the point of view of an awaking lover and describes the lover's thoughts as he wakes next to his partner. The lover's musings move from discussing sensual love to spiritual love as he realises that, with spiritual love, the couple are liberated from fear and the need to seek adventure. The poem makes use of biblical and Catholic writings, indirectly referencing the legend of the Seven Sleepers and Paul the Apostle's description of divine, agapic love - two concepts with which, as a practising Catholic, Donne would have been familiar.
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-, , . . . - XVIII- XIX , : , . , . lake . , . It was inspired by an event on April 15, 1802, in which Wordsworth and his sister, Dorothy, came across a "long belt" of daffodils. When we were in the woods beyond Gowbarrow park we saw a few daffodils close to the water side, we fancied that the lake had floated the seed ashore & that the little colony had so sprung up -- But as we went along there were more & yet more & at last under the boughs of the trees, we saw that there was a long belt of them along the shore, about the breadth of a country turnpike road. I never saw daffodils so beautiful they grew among the mossy stones about & about them, some rested their heads upon these stones as on a pillow for weariness & the rest tossed and reeled and danced & seemed as if they verily laughed with the wind that blew upon them over the Lake, they looked so gay ever dancing ever changing. This wind blew directly over the lake to them. There was here & there a little knot & a few stragglers a few yards higher up but they were so few as not to disturb the simplicity & unity & life of that one busy highway -- We rested again & again. The Bays were stormy & we heard the waves at different distances & in the middle of the water like the Sea.
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The World Is Too Much with Us
Wordsworth gives a fatalistic view of the world, past and future. The words "late and soon" in the opening verse describe how the past and future are included in his characterization of mankind. The author knows the potential of humanity's "powers," but fears it is clouded by the mentality of "getting and spending." The "sordid boon" we have "given our hearts" is the materialistic progress of mankind. The detriment society has on the environment will proceed unchecked and relentless like the "winds that will be howling at all hours".
Unlike society, Wordsworth does not see nature as a commodity. The verse "Little we see in Nature that is ours", shows that coexisting is the relationship envisioned. This relationship appears to be at the mercy of mankind because of the vulnerable way nature is described. The verse "This Sea that bares her bosom to the moon", gives the vision of a feminine creature opening herself to the heavens above. The phrase "sleeping flowers" might also describe how nature is being overrun unknowingly and is helpless.
The verse "I, standing on this pleasant lea, have glimpses that would make me less forlorn", reveals Wordsworth's perception of himself in society: a visionary romantic more in touch with nature than his contemporaries.
