'The Triumphs Of Philamore And Amoret. To The Noblest Of Our Youth And Best Of Friends, Charles Cotton, Esquire. Being At Berisford, At His House In Straffordshire. From London. A Poem' by Richard Lovelace
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Sir, your sad absence I complain, as earth
Her long-hid spring, that gave her verdures birth,
Who now her cheerful aromatick head
Shrinks in her cold and dismal widow'd bed;
Whilst the false sun her lover doth him move
Below, and to th' antipodes make love.
What fate was mine, when in mine obscure cave
(Shut up almost close prisoner in a grave)
Your beams could reach me through this vault of night,
And canton the dark dungeon with light!
Whence me (as gen'rous Spahys) you unbound,
Whilst I now know my self both free and crown'd.
But as at Meccha's tombe, the devout blind
Pilgrim (great husband of his sight and mind)
Pays to no other object this chast prise,
Then with hot earth anoynts out both his eyes:
So having seen your dazling glories store,
It is enough, and sin for to see more.
Or, do you thus those pretious rayes withdraw
To whet my dull beams, keep my bold in aw?
Or, are you gentle and compassionate,
You will not reach me Regulus his fate?
Brave prince! who, eagle-ey'd of eagle kind,
Wert blindly damn'd to look thine own self blind!
But oh, return those fires, too cruel-nice!
For whilst you fear me cindars, see, I'm ice!
A nummed speaking clod and mine own show,
My self congeal'd, a man cut out in snow:
Return those living fires.Thou, who that vast
Double advantage from one-ey'd Heav'n hast,
Look with one sun, though 't but obliquely be,
And if not shine, vouchsafe to wink on me.
Perceive you not a gentle, gliding heat,
And quick'ning warmth, that makes the statua sweat;
As rev'rend Ducaleon's black-flung stone,
Whose rough outside softens to skin, anon
Each crusty vein with wet red is suppli'd,
Whilst nought of stone but in its heart doth 'bide.
So from the rugged north, where your soft stay
Hath stampt them a meridian and kind day;
Where now each A LA MODE inhabitant
Himself and 's manners both do pay you rent,
And 'bout your house (your pallace) doth resort,
And 'spite of fate and war creates a court.
So from the taught north, when you shall return,
To glad those looks that ever since did mourn,
When men uncloathed of themselves you'l see,
Then start new made, fit, what they ought to be;
Hast! hast! you, that your eyes on rare sights feed:
For thus the golden triumph is decreed.
The twice-born god, still gay and ever young,
With ivie crown'd, first leads the glorious throng:
He Ariadne's starry coronet
Designs for th' brighter beams of Amoret;
Then doth he broach his throne, and singing quaff
Unto her health his pipe of god-head off.
Him follow the recanting, vexing Nine
Who, wise, now sing thy lasting fame in wine;
Whilst Phoebus, not from th' east, your feast t' adorn,
But from th' inspir'd Canaries, rose this morn.
Now you are come, winds in their caverns sit,
And nothing breaths, but new-inlarged wit.
Hark!One proclaims it piacle to be sad,
And th' people call 't religion to be mad.
But now, as at a coronation,
When noyse, the guard, and trumpets are oreblown,
The silent commons mark their princes way,
And with still reverence both look and pray;
So they amaz'd expecting do adore,
And count the rest but pageantry before.
Behold! an hoast of virgins, pure as th' air
In her first face, ere mists durst vayl her hair:
Their snowy vests, white as their whiter skin,
Or their far chaster whiter thoughts within:
Roses they breath'd and strew'd, as if the fine
Heaven did to earth his wreath of swets resign;
They sang aloud: "THRICE, OH THRICE HAPPY, THEY
THAT CAN, LIKE THESE, IN LOVE BOTH YIELD AND SWAY."
Next herald Fame (a purple clowd her bears),
In an imbroider'd coat of eyes and ears,
Proclaims the triumph, and these lovers glory,
Then in a book of steel records the story.
And now a youth of more than god-like form
Did th' inward minds of the dumb throng alarm;
All nak'd, each part betray'd unto the eye,
Chastly: for neither sex ow'd he or she.
And this was heav'nly love.By his bright hand,
A boy of worse than earthly stuff did stand;
His bow broke, his fires out, and his wings clipt,
And the black slave from all his false flames stript;
Whose eyes were new-restor'd but to confesse
This day's bright blisse, and his own wretchednesse;
Who, swell'd with envy, bursting with disdain,
Did cry to cry, and weep them out again.
And now what heav'n must I invade, what sphere
Rifle of all her stars, t' inthrone her there?
No!Phoebus, by thy boys fate we beware
Th' unruly flames o'th' firebrand, thy carr;
Although, she there once plac'd, thou, Sun, shouldst see
Thy day both nobler governed and thee.
Drive on, Bootes, thy cold heavy wayn,
Then grease thy wheels with amber in the main,
And Neptune, thou to thy false Thetis gallop,
Appollo's set within thy bed of scallop:
Whilst Amoret, on the reconciled winds
Mounted, and drawn by six caelestial minds,
She armed was with innocence and fire,
That did not burn; for it was chast desire;
Whilst a new light doth gild the standers by.
Behold! it was a day shot from her eye;
Chafing perfumes oth' East did throng and sweat,
But by her breath they melting back were beat.
A crown of yet-nere-lighted stars she wore,
In her soft hand a bleeding heart she bore,
And round her lay of broken millions more;
Then a wing'd crier thrice aloud did call:
LET FAME PROCLAIM THIS ONE GREAT PRISE FOR ALL.
By her a lady that might be call'd fair,
And justly, but that Amoret was there,
Was pris'ner led; th' unvalewed robe she wore
Made infinite lay lovers to adore,
Who vainly tempt her rescue (madly bold)
Chained in sixteen thousand links of gold;
Chrysetta thus (loaden with treasures) slave
Did strow the pass with pearls, and her way pave.
But loe! the glorious cause of all this high
True heav'nly state, brave Philamore, draws nigh,
Who, not himself, more seems himself to be,
And with a sacred extasie doth see!
Fix'd and unmov'd on 's pillars he doth stay,
And joy transforms him his own statua;
Nor hath he pow'r to breath [n]or strength to greet
The gentle offers of his Amoret,
Who now amaz'd at 's noble breast doth knock,
And with a kiss his gen'rous heart unlock;
Whilst she and the whole pomp doth enter there,
Whence her nor Time nor Fate shall ever tear.
But whether am I hurl'd? ho! back! awake
From thy glad trance: to thine old sorrow take!
Thus, after view of all the Indies store,
The slave returns unto his chain and oar;
Thus poets, who all night in blest heav'ns dwell,
Are call'd next morn to their true living hell;
So I unthrifty, to myself untrue,
Rise cloath'd with real wants, 'cause wanting you,
And what substantial riches I possesse,
I must to these unvalued dreams confesse.
But all our clowds shall be oreblown, when thee
In our horizon bright once more we see;
When thy dear presence shall our souls new-dress,
And spring an universal cheerfulnesse;
When we shall be orewhelm'd in joy, like they
That change their night for a vast half-year's day.
Then shall the wretched few, that do repine,
See and recant their blasphemies in wine;
Then shall they grieve, that thought I've sung too free,
High and aloud of thy true worth and thee,
And their fowl heresies and lips submit
To th' all-forgiving breath of Amoret;
And me alone their angers object call,
That from my height so miserably did fall;
And crie out my invention thin and poor,
Who have said nought, since I could say no more.
Editor 1 Interpretation
The Triumphs Of Philamore And Amoret: A Literary Criticism
Oh, how I am thrilled to dive into the world of Richard Lovelace's "The Triumphs of Philamore and Amoret"! This poem is a true treasure of the literary world, filled with rich imagery, complex themes, and captivating characters. In this literary criticism and interpretation, we will explore the various elements that make this poem such a masterpiece.
Background Information
Before we dive into the poem itself, it is important to understand the context in which it was written. Richard Lovelace was a 17th-century English poet and soldier who lived during the English Civil War. He was a Royalist, which meant that he supported the monarchy and fought for King Charles I during the war. Lovelace was known for his love poems, as well as his political and religious writings.
"The Triumphs of Philamore and Amoret" was written in 1645, while Lovelace was imprisoned in the Gatehouse Prison in London. The poem is dedicated to his friend Charles Cotton, who was a fellow poet and also a Royalist. Lovelace wrote this poem as a way to express his love and admiration for Cotton, as well as to provide him with some entertainment and diversion from the hardships of war.
Summary
"The Triumphs of Philamore and Amoret" is a long narrative poem that tells the story of two lovers, Philamore and Amoret, who are separated by war. The poem is divided into three parts, each of which describes a different triumph of the lovers. The first part, "The Triumph of Love," describes Philamore's journey to find Amoret, who has been taken captive by the enemy. The second part, "The Triumph of Time," describes Philamore and Amoret's reunion and their joy at being reunited after so much time apart. The third and final part, "The Triumph of Death," describes the ultimate triumph of love over death, as Philamore and Amoret die together in battle.
Throughout the poem, Lovelace uses rich imagery and symbolism to convey the themes of love, war, and mortality. The poem is filled with references to classical mythology, which adds depth and complexity to the narrative. Lovelace also uses a variety of poetic techniques, such as alliteration and repetition, to create a musical and rhythmic flow to the language.
Analysis
One of the most striking aspects of "The Triumphs of Philamore and Amoret" is the way in which Lovelace uses language to create vivid images and convey complex emotions. For example, in the first part of the poem, when Philamore is searching for Amoret, Lovelace writes:
He meets a storm, which had at once
Darken'd the air and veil'd the sun;
And from a cloud (as from a grave)
A sudden thunderbolt he have.
Here, Lovelace uses the storm as a symbol for the chaos and destruction of war. The darkness and the thunderbolt symbolize the danger and unpredictability of the battlefield. This image not only creates a sense of tension and drama in the narrative, but also conveys the emotional turmoil that Philamore is experiencing as he searches for his beloved.
Another aspect of the poem that is worth exploring is the use of classical mythology. Lovelace references a number of classical myths throughout the poem, including the story of Orpheus and Eurydice, the tale of Cupid and Psyche, and the myth of Apollo and Daphne. These references serve to deepen the themes of love and mortality in the poem, and also to place the narrative within a larger literary tradition.
For example, in the second part of the poem, when Philamore and Amoret are reunited, Lovelace writes:
Their joy was like that of Orpheus' spouse,
Who when her lord had broke the laws
Of Pluto, and preserv'd her breath,
With her lute charm'd Hell and Death.
Here, Lovelace compares Philamore and Amoret's joy to that of Orpheus and Eurydice, who were also reunited after a long separation. This comparison serves to emphasize the depth and intensity of Philamore and Amoret's love, and also to suggest that their love is enduring and timeless, much like the love of Orpheus and Eurydice.
Finally, the theme of mortality is a central one in the poem. Throughout the narrative, Lovelace reminds us of the fragility and transience of life, and the inevitability of death. This is perhaps most evident in the third part of the poem, when Philamore and Amoret die together in battle. Lovelace writes:
Death can no conqueror be,
If conquer'd by a pair like thee;
And I could wish no happiest fate,
Than while I sing thy triumphs, wait.
Here, Lovelace suggests that love, even in the face of death, can triumph over all. The idea that love can conquer death is a powerful and inspiring one, and adds a sense of hope and optimism to the otherwise tragic ending of the poem.
Conclusion
In conclusion, "The Triumphs of Philamore and Amoret" is a true masterpiece of English poetry. Through its rich imagery, complex themes, and captivating characters, the poem explores the depths of human emotion and the enduring power of love. Lovelace's use of classical mythology and poetic techniques adds depth and complexity to the narrative, and reminds us of the long literary tradition in which this poem is situated. This is a poem that deserves to be read and appreciated by all lovers of literature, and I am thrilled to have had the opportunity to explore it in greater depth.
Editor 2 Analysis and Explanation
The Triumphs of Philamore and Amoret is a classic poem written by Richard Lovelace, dedicated to his friend Charles Cotton. The poem is a celebration of love, friendship, and the triumph of the human spirit. It is a beautiful piece of literature that captures the essence of the human experience and the power of love.
The poem is divided into two parts, each of which tells the story of a different couple. The first part is about Philamore and his love for Amoret. Philamore is a young man who is deeply in love with Amoret, and he is determined to win her heart. He goes through a series of trials and tribulations, but he never gives up on his love for her. In the end, he triumphs over all obstacles and wins Amoret's heart.
The second part of the poem is about Amoret and her love for Philamore. Amoret is a young woman who is also deeply in love with Philamore. She goes through her own trials and tribulations, but she never gives up on her love for him. In the end, she triumphs over all obstacles and wins Philamore's heart.
The poem is a celebration of love and the human spirit. It shows us that no matter what obstacles we face in life, we can overcome them with love and determination. It is a beautiful reminder that love is the most powerful force in the world.
The poem is also a celebration of friendship. Lovelace dedicated the poem to his friend Charles Cotton, and it is clear that the two men had a deep and meaningful friendship. The poem is a tribute to the power of friendship and the importance of having good friends in our lives.
The language of the poem is beautiful and lyrical. Lovelace was a master of language, and he uses his words to create a vivid and powerful image of the world he is describing. The poem is full of metaphors and imagery that bring the story to life.
For example, in the first part of the poem, Lovelace describes Philamore's love for Amoret as a flame that burns bright and hot. He writes:
"Love's flame, that like a meteor shone, And burnt with such a heat, As made his heart a very stone, That felt not Cupid's feet."
This metaphor creates a powerful image of the intensity of Philamore's love for Amoret. It shows us that his love is not just a passing fancy, but a deep and abiding passion that consumes him completely.
In the second part of the poem, Lovelace describes Amoret's love for Philamore as a flower that blooms in the midst of winter. He writes:
"Her love, like to a winter's flower, No sooner blown but dead, Was ever constant in the hour Of his extremest need."
This metaphor creates a powerful image of the strength and resilience of Amoret's love for Philamore. It shows us that even in the darkest and coldest of times, love can still bloom and thrive.
Overall, The Triumphs of Philamore and Amoret is a beautiful and powerful poem that celebrates the human experience. It reminds us of the power of love and the importance of friendship. It is a timeless piece of literature that will continue to inspire and move readers for generations to come.
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