We have had some preparation for this straining of metaphor in the poet's insistent division of the birds on the basis of a mixture of traditional and newlycreated symbolism. The British Journal of Aesthetics 10, No. This is not merely a moral allegory of the man who, being heaven-born, is able to vanquish sin and rise to heavenly virtue. In this apparent contradiction lies the deeper meaning of the poem. This central portion of the poem is perhaps best seen as expressing a general opinion held by "chaste wings." Keep the obsequie so strict. Reason, precisely in admitting her defeat, transcends herself. 18 Grosart, pp. 15 Canzoniere, 185, 11. This and other parallels expanded by Wilson Knight raise a problem: was the fair youth of the sonnets Shakespeare's Phoenix? Donne's poem informs the reader sufficiently of its context, a temporary separation between lovers as one of them leaves to go on a journey, whereby a Neoplatonic argument can be seen to meet an immediate need for consolation. Kylie. B. Grosart, who published an edition of Loves Martyr in 1878, was convinced that throughout the book the Phoenix stood for Queen Elizabeth and the Turtle for the Earl of Essex. Shakespeare availed himself of the convention to call attention to the values symbolized by his heroes or connected with their love. Of greater importance in creating this effect of inevitability is the change in rhythm. 12 W. Ong, S. J., "Metaphor and the Twinned Vision," Sewanee Review, LXIII (1955), 199-200. The whole world's soul, Anima Mundi, everything which is the lover's proprium, is 'contracted', is drawn together and reflected in the eyes of his beloved; so that (to complete the syllogism) to him she is all things, soul of his soul. Troilus deludes himself that his lust for Cressida is true love. Here the Antheme doth commence, 4Die Fragmente der Vorsokratiker (6th ed., Berlin 1951) I 228 ff. ', reads almost like a sequel to Shakespeare's. A. With goodly armony. The dark smelly pipes that run under the city are your res9ng place. 5The Mutual Flame (London 1955), especially p. 156 ff. In a mutuali flame from hence. ), "The Phoenix and Turtle - Language And Symbolism" Shakespearean Criticism In the Anthem, for instance, it gives only limited help. chapter does not attempt a maximum extension of the connotative possibilities, but rather a close, line-by-line study of what, at a minimum, the words say, of how they relate to each other within the pattern. In his Brief Apology for Poetry, written in 1591, Sir John Harington claimed that, The ancient Poets have indeed wrapped as it were in their writings divers and sundry meanings, which they call the senses or mysteries thereof. Twixt this Turile and his Queene; 116-30. "The Phoenix and Turtle - Allegory: Politics And History" Shakespearean Criticism . Of heven emperyall, And so stand fix'd. One Phoenix borne, another Phoenix burne. . Such expressions as. Amidst a ring most richly well enchaced, Before them playd such well-tun'd melodie, We are all one, thy sorrow shall be mine, WebThe Phoenix And The TurtleWilliam Shakespeare. There is something rarefied about it, yet it remains in touch with human qualities, with the meaning of 'true' and 'fair' in the world; while it tells of birds and of the perfection of love, it tells something relevant to imperfect human love. the emphasis is on the consummation of the Phoenix's virginal nuptials in death rather than on any personal relationship of the Queen's'.5 Marie Axton, applying the ideas of Ernst Kantorowicz's book, The King's Two Bodies, brings attention back to Shakespeare's poem and argues that the key relationship of The Phoenix and the Turtle is that of the Queen to her subjects, both parties being represented by either bird.6 Her argument corresponds effectively to the two-inone strategy which carries the poem's central thrust and gains, like Watson's, in not tying the Queen to the fate of a particular contemporary. . Mine eyes shall answer teare for teare of thine. That such a Phoenix nere should bee.14. date the date you are citing the material. Neither two nor one was called. Salusbury was a frequent visitor at Knowsley; he named one of his sons Ferdinando in memory of the fifth Earl of Derby, and in 1597 he 'very Royally entertained' at Lleweni the sixth Earl and his Countess.9 Salusbury certainly knew Ben Jonson, whose early ode to the Earl of Desmond, in Jonson's own hand, is included with Salusbury's and Chester's poems in a manuscript at Christ Church,10and early versions of the Proludium and Epode contributed to Poetical Essays are in a Salusbury manuscript now in the National Library of Wales.11 He may well have known all the contributors to the collection compiled in his honour. In this essay I should like to leave such readings out of account. So is Chester's Phoenix 'analysde' by Jonson: Knight's reading only displays perverse ingenuity (pp. Types of Figurative Language Imagery Simile Metaphor Alliteration Personification Onomatopoeia Hyperbole Idioms Irony Euphemism Metonymy Antithesis Apostrophe Assonance Paradox Litotes 16 See Dyer's 'Coridon to his Phillis' in Englands Helicon (1600). [In the following excerpt, Roe studies critical approaches to The Phoenix and Turtle, surveys its relation to literary tradition, and evaluates the work stylistically.]. Early Christian poets, such as Lactantius in the De Ave Phoenice, adapted the description of the phoenix given by Herodotus to religious purposes and identified it as a type of chastity in opposition to the cult of Venus.27 This was no doubt influential in producing the already noted Renaissance (and Shakespearean) insistence on the bird as an example of rarity or chastity rather than on its capacity for self-renewal from its own cinders. University University of Wisconsin-Milwaukee. Now, with Neruda as inspiration, try to write your own ode to an inanimate object, using figurative language to bring it to life. Her ashes new create another heir Is gone himselfe into your Name. Cf. of Poetries: Their Media and Ends, by I. . Join hearts and hands, so let it be, But precisely how such influence exerted itself is much less clear. Because men waver and err in the blindness of ignorance, she reveals to him the world of true being .. . Though one may play with it, the conceit is common and perfectly clear; the difficulties in the stanza lie elsewhere. If the reader remains on the level of the absolutes focused in the preceding stanzas, he will not fail to distinguish easily between the ideal or transcendent Truth and Beauty that has been achieved by the Phoenix and the Turtle and the human level of those who approach their tomb. Simile: The gardener says to Mary "both of us as sour as we look" and it WebThe Phoenix and the Turtle By William Shakespeare Let the bird of loudest lay On the sole Arabian tree Herald sad and trumpet be, To whose sound chaste wings obey. 28 In the Neoplatonic philosophy of love the standard paradox is not beyond proof. See also note 23 below. The bird-liturgy is combined with a love-theme in the delightful Messe des Oisiaus of Jean de Cond, in which all aspects of birds' celebrating the joys of spring, of lovers' celebrating Venus, and of priests' celebrating their mass come to be symbolically related and interchangeable. 57-62. They were not alone in wishing to influence their countrymen, to impress upon them a personal responsibility for the peaceful transfer of authority. That it cried, 'How true a twain Yet Reason calls on those "That are either true or fair. We by a love so much refin'd Loue hath Reason, Reason none, online is the same, and will be the first date in the citation. This is not only to say that the whole of 'kinde' is united in mourning a poet's death (a theme that spans from Moschus' Lament for Bion to Lycidas), but that emblematically the birds can give an exemplum of love, and an insight into death and immortality, which has a purity and self-sufficiency beyond what human images of grief could convey: The skie bred Egle roiall bird, This ironic observation is not one that disables the ideal side of the poetic argument, since it follows logically from what has been stated previously. 7 Carleton Brown, ed. This evolution of Shakespeare's sensibility is sketched in the third volume of my Potes Mtaphysiques Anglais (Paris, 1960), pp. 27Lactantius: the Minor Works, trans. 27Shakespeare Survey 15, Cambridge 1962, p. 99. The difference betwixt false Loue and true Sinceritie. Chaste love is the desire to appreciate fully the 'rare' personal beauty of the beloved, and to celebrate and refresh that beauty by contributing the best of itself to it. "), recalls the direct address ("But thou . Each of these must be acknowledged and only a reverent, loving response will sustain the miracle. For possible personal allegories, which are not of present interest, see R. A. Underwood, Shakespeare's 'The Phoenix and Turtle': A Survey of Scholarship, Studies in English Literature (Elizabethan), No. In the stormy east-wind straining, The pale yellow woods were waning, The broad stream in his banks complaining, Heavily the low sky raining Over tower'd Camelot; alliteration metaphor personification simile 9 Heinrich Straumann, Phonix und Taube (Zurich, 1953). It is rather a harmony of solemn rhetoric and inspired idealism rising to a note of triumph and universal hope. Only the transference of a liturgy in praise of chastity to the praises of Amor should perhaps be noted here. And (now first) consecrated by them all generally, to the love and merite of the true-noble Knight, Sir John Salisburie. Reason in itselfe confounded, Chester and Chapman alone, or perhaps Marston in his more abstruse vein, might have been attracted by the ponderous though high-flown disquisitions of one who claimed to rival Ronsard and Du Bartas.32 The author of the Shadow of Night could have enjoyed Du Monin's Hymne de la Nuict and would have welcomed his defence of obscurity.33 He might have been undismayed by Du Monin's proud boast in the epistle prefixed to the Phoenix: 'entre soixante cinq mille vers de ma Muse, il ne s'en trouve mille qui ne soient batus au coin philosophique'. There is one Tree, the Phoenix throne, one 20 That is, unless we accept Dugdale's attribution to him of another Stanley poem, the epitaph on Sir Thomas Stanley's monument in Tong church, Salop. The Threnos certainly has the power of an explanatory epilogue, but not one that asks for applause. . The first stanza of the threne adds to the praise in order to emphasize the loss. Created by. You, to whom love was peace, that now is rage; Foule precurrer of the fiend, To heven he shall, from heven he cam!Do mi nus vo bis cum! Its subject involves the funeral of a mythic phoenix and a turtle dove, two creatures that together are generally thought to represent the ideals of constancy and love. But since the occasion was a marriage the Phoenix could not be praised alone: it must (whatever the consequent disruption of myth) be provided with a mate; and what better than that recognized symbol of marital constancy, the Turtle-Dove? The purest, most extreme application of this was Saint Anselm's argument for the existence of God: both those who affirm and those who deny that there is a God agree that the concept 'God' means the most perfect being. Though no less dead than Love and Constancy, Number is a more insistent personification through its more strenuous death. Their eares hungry of each word, This is why Cunningham's interpretation of the Threnos is mistaken. Single nature's double name And thou treble dated Crow, The purity of the Dove's devotion assures the creative heat of the flame. Figurative language means using literary devices, techniques, and figures of speech to heighten sensory response and add meaning, clarity, or impact to your writing. 5 That is why T. W. Baldwin's assertion that 'Shakespeare has taken his pattern from Ovid, Amores, II, 6' may be misleading: On the Literary Genetics of Shakespeare's Poems and Sonnets (Urbana, 1950), p. 364. Here, coupled with the single adjective "dead" in a context in which abstractions have taken precedence over the world of the original event, it has quite the opposite effect, bringing us down to earth, rather than lifting us from it. What this pervading moral tension enacts is Reason's sense of its own failure to understand what has really happened. The Phoenix and the Turtle are unitedfusedby one mutual flame which transforms them, raises them to a new level of being to which the terms of human individuality and unity do not apply. Essays in Criticism XV, No. They are buried in this urn, to which let all those who are either true or fair come and sigh a prayer. That due to thee, which thou deseru'st alone. So they loued as loue in twaine, He is not describing an event but constructing one, somewhat self-consciously staging it. . The swan is to serve as priest, its whiteness suggesting both the proper garment and the required purity. Some scholars and critics, including A. H. Fairchild in his long and illuminating essay, have denied that there is any significant connection between Shakespeare's poem and the bulky poem, or miscellany, by Chester which precedes.3 Many others have denied it in practice, by ignoring Chester's work. The gnomic comments invite one's easy credit. with its Cirrhaean modes can match her song. So Donne's lovers in The Canonization had in their fulfilment contracted the whole world's soul into themselves, become one with the Anima Mundi, and thereby united in the Phoenix. A theologian could see a parallel in the Trinity, with Son and Spirit, Phoenix and Dove, dying eternally into the Father. Thou shalt no more go weeping al alone, ), it is clear that (until 1938 at least) the great majority have been personal or historical readings. Who from the sacred ashes of her honour The royal throne had power 'For to reuiue his Honor-splitted Name, / And raise againe the cinders of his Fame' (p.86). Roman Jakobson once called The Phoenix and Turtle 'Shakespeare's masterpiece'.1 The poem is quite an astonishing one, a perplexing love-elegy, traditional and yet obscure. 38. At this hour reigning there. The contrast with purity is softened by speaking of blackalready a proper color for a mourneras "sable," a word carrying connotations of rich, velvety warmth, and perhaps of nobility. Donc, jalouse de l'Un, Muse uniquement une, With regard to the opening lines, I am convinced of what is by no means universally admitted, that 'the bird of lowdest lay, on the sole Arabian tree' is a periphrasis for the Phoenix.16 The traditional belief is, in Sebastian's words from The Tempest (III 3). ", "I told her about the preacher being like a turtle, hiding all the time inside his shell." His final verses reaffirm that beauty and truth can only exist in conjunction, by beholding each other and, like the sable gender of the crow, live by breath given and taken. And as the turtle Dove I have little sympathy with those who prefer it as 'ravishing nonsense'. 25], written about 96 A. D., onwards); and the Dove is a figura of the Holy Spirit: Than sayd the phnix, Furthermore, the crow is specifically addressed as chaste. Chaste love wants to be ever 'flaming', wants the intellectual and emotional excitement to continue without an 'end', and without being distracted by the fact that there inevitably has to be a 'death'. "The Phoenix and Turtle." It is entirely probable that Chester's patron would have been glad to have Shakespeare in the volume on the latter's own terms. . God, Man, nor Woman, but elix'd of all Webthough distance was seen. Among these, Roydon's Elegy for Astrophil, first adduced by Sir Sidney Lee, has not been duly stressed in recent studies.12 In the stanzas usually quoted (6-7), the Phoenix is but a mourner among the other birds assembled: eagle, turtle and swan. Discusses The Phoenix and Turtle as "a poem of mourning, a meditation on the hard fact of mortality.". A neoplatonist might think of a further parallel: Anima Mundi is resolved into Ratio, and both are resolved into the 'boundlesse Ens'. Dyce) I 69. . Shakespeare is not arguing.28 He flies in the face of Reason with the blind confidence of sheer faith, by-passes her in a flashing intuition of utter transcendence. The swan that sings about to dy, Pared down to essentials, the poem seems hardly more than an exercise in declamation; what makes it all the more formidable is its ability to find a tone equal to Donne's in expansiveness without enjoying similar terms of recovery and return. However, like all attempts to decode the allegory of a poem which remains wilfully elusive on the point of human identifications, this attractive idea carries an irreducible element of speculation.7, In a somewhat different corner is the bizarre identification of the Turtle with Giordano Bruno, who, whatever his relationship with Elizabeth, has the undeniable allegorical advantage of having been burnt in fact.8, Yet another proposal, and one which, if it had not already been expressed, somebody would be bound to put forward, is that Shakespeare himself is either the Phoenix or the Turtle. By noting this difference, we can see how far Shakespeare has come; by understanding "The Phoenix and the Turtle," we can conjecture how he got there. In short, the vulgar lover knows neither self-control, respect, responsibility, gentleness, nor fidelity. As a result of this terse diction within disjunct lines, there are not only ambiguities within lines but also contradictory possibilities due to the fact that succeeding lines can frequently be related to each other grammatically in a number of ways. The patriotic part consists of the story of King Arthur, which the person of Nature recounts to the Phoenix.13 Following this she gives a lengthy account of mineral, plant, and animal life, with special attention to their properties both real and supposed. Intellectually, Shakespeare is less inventive, less witty than Donne: he rings the changes on one idea instead of striking out fresh conceits from the traditional 'two-in-one' paradox. .34. Though the Phoenix was male in Hesiod and Herodotus, Phoenix-Laura and Phoenix-Stella are unequivocally feminine. Alliteration. There, in a context marked by the solemnity and dignity of the regular accent-pattern, it introduced us to the world of the poem, preparing us for the level on which we were to proceed. Marston follows with a pair of poems, in the first of which he alludes to Shakespeare's Threnos: But he composes his own very different variation on the set theme, defending Platonism against Shakespeare's treatment of it as an intellectual game. An hundred naked maidens lilly white, He concludes the second poem of the pair with 'Thus close my rhymes', but then adds two more poems. In the first of these variations (stanza seven), the paradox appears in its most obvious, numerical, terms. This is E. A. J. Honigmann's study, in which he follows Brown very closely in giving prominence to the Salusburys. And there due adoration still she finds. This turtle may be slow, but she's always "on her way" What would be gained poetically for interpretation by seeing Reason in The Phoenix and the Turtle as yet another personification of the Ratio or Nous of the neoplatonists, with its kinships that extend to Solomon's Sapientia and Parmenides' nameless goddess, to Boethius' Philosophia and Bernard Silvestris' Noys? or is it simply that the Phoenix is permanently bedded in death? The ninth stanza turns from logical contradictions to the nature of the relationship. . 3, 1968, pp. overcomming all bodily substance' and rising to heaven. (Begot of Treasons heyre) thus to rebell . 125-7): Why I have left Arabia for thy sake . Flaming in the Phoenix sight; / But thou some baseborne Haggard mak'st a wing,/ Against the Princely Eagle in his flight' (pp.75-6). of the shrieking harbinger in the second. Why is this? The summons issued from the sole Arabian tree is an announcement of the end and the beginning; an unnamed miracle is proposed and will be accomplished only if the summons is heard and obeyed. The consistent emphasis upon the line-unit would be thoroughly monotonous if the stress-patterns within the linesthat is, the patterns of voice stress imposed upon the pattern of metrical accentwere not frequently varied by means of extra syllables and the effect on the rhythm of the shifting requirements of sense. Both are doves. 44-54. The Arabian setting is here, too, and the death-dealing flame. Et unicum filium. That breath of troth creates the Phoenix from the 'rare dead ashes' in the 'rare live urn'. At a deeper level, however, Antony's love does not simply mediate between Egyptian and Roman ideas of love. Of course the word "dead" already denies the qualities usually associated with "bird," but the line goes further than that. Colin Clout, in grief at this turn of events, broke his pipes, and he told Sir Calidore that no one could call his dancers back again. As they watch this 'Tragique Scene', the birds sing the anthem, lamenting the loss of the perfectly united ones, the exemplars of constancy and love, truth and beauty. . '17And in Claudian (Phoenix 79 ff): 'Not one among so many thousands of birds dares to cross his sovereign [the Phoenix] . To this troup come thou not neere. Hume, Anthea. The birds themselves do not raise the question of personification at all, not only because they are not abstractions, but because they belong to the world established by the first portion of the poem. If what parts can so remain.'. Nerudas figurative language and wide-ranging imagination let us see the fish vividly as it was in life, making the acknowledgment of the fishs death all the more affecting. False loue, hearts tyrant, inhumane, and cruell. When heaven shall call her from this cloud of darkness Surely the latter possibility should be thoroughly investigated before we settle for either of the others. Mon 17 Sep 2012 05.14 EDT. Or if they are made to apply, it can only be analogically, and hence can be expressed only by negation of logical meaning. cit. The story of Phoenix and Turtle Dove became what its authors had predicted, a remarkable chapter in a book of Britain's Monuments. Sacrificing herself for her brood, the Pelican had been a timeworn figure of Christ and been adapted to honour Elizabeth.9 The Swan, sacred to Apollo, shadows the poets themselves who, in Love 's Martyr, sing at the approach of death to tell of the sadness of mortality yet prophesying 'prosperity and perfect ease'. Before looking at the poem in specific detail, we need to address the question of its place in the wider context of historical, especially personal, allegory, which in turn means surveying the main arguments that have been presented over the past century. Que l'unique Phoenix de ma voix authentique Jonson refers affectionately to 'our Dove', and Marston speaks of the new Phoenix, 'arising out of the Phoenix and Turtle Doves ashes', which is 'now growne unto maturitie' (Brown, p. lxxi). The Phoenix asks the piae volucres to come to watch the funeral-rite, in which she and the Turtle-dove die in a mutual flame. Evidence that he consulted Loves Martyr is produced by A. H. R. Fairchild in 'The Phoenix and Turtle: a critical and historical interpretation', Englische Studien, 33 (1904), 337-84. Not only is the traditional turtledovewhich has no role in the phoenix legendsa female,12 but, of the two birds, it would seem the more feminine, smaller, softer, less colorful and less imposing. . WebFigurative language is found in all sorts of writing, from poetry to prose to speeches to song lyrics, and is also a common part of spoken speech. The Threnos is a lament for Reason's own incapacity to understand the 'Truth and Beautie' of the union of the lovers, its essential significance, which remains 'buried', hidden beyond Reason's perception. Chester made up for a lack of talent or discrimination by an excess of energy, and into his long poem he put not only all he knew of the legends associated with the Phoenix and with the Turtle-Dove but much about King Arthur, a lengthy catalogue of flowers, trees, fishes, beasts, and birds culled from recently published books, together with some confused history and geography, in which the island of Paphos (which is not an island) is translocated to North Wales, and Ferdinand and Isabella become Ferdinando (the name of Lord Derby's heir) and Elizabeth. In 1593 a miscellany called The Phoenix Nest was published, in which appeared Matthew Roydon's elegy for Sidney. 9 'Shakespeares lyrische Gedichte', Jahrbuch, 28 (1893), 274-331. One countrey with a milke-white Dove I graced: His concern is solely with myth, and the poetic content is removed as far as possible from any occasional reference. But it would not affect Donne's 'metaphysical' handling of the 'Phoenix riddle', which is a mere idea. We may conclude that Chester wrote, or revised, his poem for the marriage of John Salusbury and Ursula Stanley late in 1586, and that he made some additions a year later. 5 'Natural History in "Love's Martyr'", Renaissance and Modern Studies 9 (1965), 124. ", The next two stanzas, in excluding other birds, tend, by negative definition, to suggest the nature of the qualifications. One major source of confusion in reading Love's Martyr is the pronounsthe curious shifts of person, identity and gender. Calling the work "a perplexing love-elegy, traditional and yet obscure," Green outlined sexual desire in this love-tragedy as a synthesis of three traditional forms: Neoplatonic, Elizabethan, and Petrarchan. Students determine whether each snippet contains an example of simile, metaphor, personification, hyperbole, or idiom. In bestiary tradition the Phoenix traditionally lives five hundred years, grows old, flies into a fire and is rejuvenated from its own ashes; it is not a simple chastity symbol like Diana or Belphoebe since its essence includes the mortal process of decay and rebirth. Dana Ramel Barnes. Praisyng our Lorde WebShakespeares poem now known as The Phoenix and Turtle (or as The Phoenix and the Turtle) appears to be his only occasional poem. The birds named in the opening stanzas contrast and complement one another: the acceptable music of 'the bird of loudest lay' opposes the harsh voice of the screech-owl; the eagle registers its own distinctions, commanding, yet not tyrannical; the white swan alternates with the black crow. Having just explained that Truth and Beauty "cannot be," that they are dead, Reason speaks of those who are true or fair, those, presumably, who partake to a lesser degree of the qualities that died with the Phoenix and the Turtle. If the miracle occurs the birds who burned in mutual flame are the true and fair who come to the urn; there is never a moment when there is not a fire or a Phoenix: The tone of this poem is elegiac; in 1601 there can be no assurance that any true or fair will answer a poetic summons. Rescued from relative obscurity in 1875 by Ralph Waldo Emerson, who had issued a challenge to his fellow poets and critics to explicate The Phoenix and Turtle, the work has since elicited a broad range of commentary. "Love," in the ninth stanza, would be visual, perhaps, as a radiant light, but not personified, if it were not that the word carries along the weak personification established in the sixth stanza and prepares us for its stronger personification as the rival of Reason. B. Grosart (1878), p. 239. 6 F. T. Prince, ed., Shakespeare's Poems (London, 1960), p.xxxix. 363-73). WebFigurative Language - notes. This fluctuation between generalities and particulars throughout the Threnos shows up the contradiction in Reason's understanding of the immolation. 1594/5). This, indeed, is the only ground for his strange understatement when he describes as 'not obviously optimistic' a poem which begins in sadness and ends on a 'sigh'. "Whereupon," it says, Reason "made this Threne." A pair of poems by 'Vatum Chorus' is succeeded by a pair by 'Ignoto'. We are made most concretely aware of that atmosphere by the verse's insistence on the sense of sound. By contrast, death as sanctification would be a gain, an opening out. Without perdition, and loss assume all reason Co-supremes and starres of Loue, [In the following essay, Dronke discusses the imagery and literary contexts of The Phoenix and Turtle, as well as the poem's theme: "that pure, unwavering love can find its perfect fulfilment in death, and that its power can extend even beyond death. Already a member? The tyrant bird is too absorbed in its own clamour to appreciate the offensiveness of the noise. It is not entirely true that the Phoenix and the Turtle leave no posterity, since all those who are 'either true or fair' (line 66) are in some degree descended from them. . WebImagery can be defined as a writer or speakers use of words or figures of speech to create a vivid mental picture or physical sensation. 203-204; T.W. The first poem has several nonce-words: precurrer, defunctive, distincts; and the contrived ambiguities of the anthem have no place in the dirge of mourning which follows it. In Alain de Lille's De Planctu Naturae the goddess, complaining to the creator about the sexual transgressions of mankind, receives once again the exemplars of all human qualities from on high, while her poet sees this event in ecstasy and awakes remembering it. It is slightly supported by the wry, submerged, double entendre of "dying," which is itself supported by the secondary, sexual meaning of stanza 16: Leaving no posteritie, In Chester's myth (as in Shakespeare's Tempest) there is only one bird who sits upon the sole Arabian tree: the Phoenix. Such paradoxes are beyond the faculty of reason. At the same time, in Shakespeare's two preceding lines it is the Turtle's right, his proprium, all that pertains to him as an individual, that he finds reflected in the Phoenix's eyes.
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