3Chirchik State Pedagogical University Current Issues of Modern Philology and Linguodidactics
Staatliche Pädagogische Universität Chirchik Aktuelle Fragen der modernen Philologie und Linguodidaktik
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CHRISTOPHER MARLOWE'S "CARP DIEM POETRY
Ergasheva Mohiraxon Madaminjon qizi
Chirchik State Pedagogical University, Faculty of Tourism, Department of Foreign Language and Literature (English), Bachelor degree student Supervisor: Nasiba Komil qizi Jumaeva Chirchik State Pedagogical University English teacher nasibajumayeva1@gmail.com
ABSTRACT
The theme of love as resistance to authority is the centerpiece of a two-millennia-long tradition in Western poetry known as carpe diem (a phrase credited to the Latin poet Horace). This essay begins by analyzing one of the most famous later examples of carpe diem in English poetry (Andrew Marvell's 1681 "To His Coy Mistress"), emphasizing the carpe diem ethos' potential to illustrate both the consequences and the necessity of individual erotic choice—especially female choice—in defiance of authority. It then uses carpe diem's anti-authoritarian perspective to understand the contrast between the ambivalence of Mariam—torn between a tepid disobedience and regretful loyalty to her husband Herod—and the wholly defiant choices of Salome in Elizabeth Cary's earlier drama, The Tragedy of Mariam from 1613.[1]
Keywords: love; choice; carpe diem; resistance; authority; poetry
INRODUCTION
In any tragic or serious play, the dramatist always endeavors to give relief to the audience by introducing comic scenes or episodes. The literary term for such comic interludes is known as tragic relief. Tragedy or a serious play is bound to create tension in the mind of the audience; and if this tension is not relaxed from time to time it generates some sort of emotional weakness or lassitude in mind of the audience. Hence, comic interludes are a necessity to ease the tension and refresh the mind of the audience. The chief purpose of the introduction of the comic episodes is to offer a temporary relaxation of tension engendered by the serious scenes. Another point is that there was also a pressing demand from the side of Elizabethan audience for such interludes. Hence, playwrights had to introduce such scenes as the producers also demanded it for a successful run of the play. Then the comic interlude may have
April 23-24, 2024
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Chirchik State Pedagogical University Current Issues of Modern Philology and Linguodidactics
Staatliche Pädagogische Universität Chirchik Aktuelle Fragen der modernen Philologie und Linguodidaktik
^hjrchiqdavlat^edagGgika^niversiteti^^^^^^^Za
an appropriate emotional connection in the development of the tragic play or it may be a formal burlesque of a tragic scenes. The art of tragic relief, especially in its former aspect, found its supreme artistic excellence in the dramas of Shakespeare, and this art of tragic relief was also followed by Marlowe as to achieve the same purpose.[2]
LITERATURE REVIEW
The standard meaning, as opposed to its meaning in the figurative use, is called the literal meaning (Abrams 97). This phase consists of: 1. Signs The consideration of signs (conveyors of meaning) is not limited to explicit systems of communication such as language (Abrams 280). One direction is outward or centrifugal; it goes outside reading, from the individual words to the things they mean, or, in practice, to our memory of the predictable association between them. Therefore, it could be related to the personal historical background or experience of life. Symbols so understood may here be called signs, verbal units which, conventionally and arbitrarily, stand for and point to things outside the place where they occur (Frye 7374). 2.Motifs A motif is a noticeable element, such as a type of incident, device, reference, or formula, which occurs frequently in works of literature (Abrams 169). Literary meaning may best be described as hypothetical, and a hypothetical or assumed relation to the external world is part of what is usually meant by what is called imaginative (Frye 74). Thus the poet's motifs of creating the works of literature that related to the external world describe the poet's imagination, that is the individual idea to be expressed in the works.[3]
DISCUSSION AND RESULTS
The corpus of the study is the poem entitled "The Passionate Shepherd to His Love" by Marlowe, "Spring" by Shakespeare, and "Spring" by Nashe. They are the famous Elizabethan poets. It is said to be Pastoral poems. The analysis of the study will be done by focusing on the similarities that could be found through the comparison among the poems. Since these three poets were the Elizabethan poets, then the similarities in the poems could be found. Christopher Marlowe's "The Passionate Shepherd to His Love" The history of Elizabethan country plays a great role in many aspects such as politics, economics, and literary works and, in this case, romanticism. According to Cheney, "The Passionate Shepherd to His Love", like Ovid's Elegies, must be read in relation to the Elizabethan political context because it interrogates pastoral and love lyric (114). Marlowe was intelligent and according to Spurgeon, it could be seen that his knowledge was drawn from the books, especially the classics (13). He could make his Pastoral poem beautifully. Besides, he could illustrate well the life in the country and describe how a shepherd could call his lover.
April 23-24, 2024
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Chirchik State Pedagogical University Current Issues of Modern Philology and Linguodidactics
Staatliche Pädagogische Universität Chirchik Aktuelle Fragen der modernen Philologie und Linguodidaktik
According to Hopkins, "The Passionate Shepherd to his Love" is a delicate pastoral lyric.[4]
CONCLUSION
The comic episodes which are part of Faustus's conjuring tricks, and include his pranks on the Pope and the 'baldpated' friars, the planting of a pair of horns on the head of a Knight and the cheating of a greedy horse-dealer, have a moral significance and do not possess any organic plot-wise significance. They throw light on the nature of the tragedy of Faustus who abjures God and the felicity of heaven and sells his soul to the Devil in his foolish bid to become a deity on the earth. But he actually gained degradation and not exaltation out his damnation. The comic episodes underline the fact that Faustus has sunk to the low level of a sordid, fun-loving sorcerer.[5]
REFERENCES
1.Alfar, Cristina León. 2008. Elizabeth Cary's Female Trinity: Breaking Custom with Mosaic Law in 'The Tragedy of Mariam'. Early Modern Women 3: 61-103
2.Dr. S. Sen. et. all. 1992. Christopher Marlowe: The Tragical History of Doctor Faustus. New Delhi: Unique Publishers
3. Perrine, Laurence. Sound and Sense: An Introduction to Poetry. 3rd Edition. United States of America. Harcourt, Brace & World, Inc, 1969. Print
4. Shakespeare, William. Histories and Poems. Great Britain: London J. M. Dent & Sons LTD New York E. P. Dutton & Co Inc, 1956. Prin
5.Hornby, As. 1989. Oxford Advance Leaner's Dictionary of Current of English. London: Oxford Universt Press.
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