please give me summary of poem HAVE YOU EVER SEEN
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In the initial four lines Spenser introduces the subject… … In the following four lines the peruse hopes to discover some investigation of the topic, yet finds, rather, basically promote proclamation… … In the very much developed verse one would expect in the last lines to find the scholarly determination. Here, be that as it may, there is no sensational passionate circumstance to be settled. There is simply further clarification framed as far as smooth tribute… The contrast between the ballads of Herrick and Stevens and Spencer is the qualification between verse of exploration and the verse of work. Herrick and Stevens display material for the peruse to work through; Spenser exhibits an imagined encounter unequivocally expressed. There is in the initial two lyrics a scholarly and enthusiastic issue to be settled regarding the materials exhibited. Spenser, as a Christian, speaks to and outlines a Christian disposition; he doesn't re-encounter it. He doesn't gain his disposition.
This does not stir lively resistance of the Amoretti of all Spenser's develop ballads the minimum energizing, particularly in the event that one concurs that Herrick's Distraught Cleaning specialist's Tune and Stevens' Subside Quince at the Piano are better lyrics than this specific work. The work, nonetheless, is in its direction all around built and contains a greater amount of the qualities which O'Connor requests than he appears to figure it out. It is emotional, yet there is more ligament in the convolutions of its neo-Non-romantic idea than calmly shows up; there is considerably more shock and pressure, since hidden the entire work is the draw amongst paradise and earth. The initial four lines express the spirit's goals heavenward crushed by mortality; the following four are explanation, yet "exploratory statement" basic to particularize "mortality", demonstrating the spirit, trapped by want, tolerating a substitute paradise. The octave abandons us with a feeling of genuine paradise overlooked in early deception. The opening lines of the sestet, expounding on this natural euphoria,, are the main piece of the ballad which can be expelled as just "further clarification", since the finishing up couplet all of a sudden inverts the neo-Platonism and the substitute idea of natural love, announcing the Catch 22 of paradise on earth. In this way compelling an arrangement of rationality to bow to his paramour, Spenser demonstrates no extraordinary profound clash; he stays, as he plans to stay, inside the limits of smooth, fun loving tribute. Is there no room in verse for this? (W.B.C. Watkins)
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This does not stir lively resistance of the Amoretti of all Spenser's develop ballads the minimum energizing, particularly in the event that one concurs that Herrick's Distraught Cleaning specialist's Tune and Stevens' Subside Quince at the Piano are better lyrics than this specific work. The work, nonetheless, is in its direction all around built and contains a greater amount of the qualities which O'Connor requests than he appears to figure it out. It is emotional, yet there is more ligament in the convolutions of its neo-Non-romantic idea than calmly shows up; there is considerably more shock and pressure, since hidden the entire work is the draw amongst paradise and earth. The initial four lines express the spirit's goals heavenward crushed by mortality; the following four are explanation, yet "exploratory statement" basic to particularize "mortality", demonstrating the spirit, trapped by want, tolerating a substitute paradise. The octave abandons us with a feeling of genuine paradise overlooked in early deception. The opening lines of the sestet, expounding on this natural euphoria,, are the main piece of the ballad which can be expelled as just "further clarification", since the finishing up couplet all of a sudden inverts the neo-Platonism and the substitute idea of natural love, announcing the Catch 22 of paradise on earth. In this way compelling an arrangement of rationality to bow to his paramour, Spenser demonstrates no extraordinary profound clash; he stays, as he plans to stay, inside the limits of smooth, fun loving tribute. Is there no room in verse for this? (W.B.C. Watkins)
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