Narrative and Poetry in Marlowe's The Passionate Shephered To His Love"

Narrative and Poetry in
Marlowe’s „ The Passionate

Shephered to His Love”
Christopher Marlowe’s “The Passionate Shepherd to His Love” fits perfectly into the
poetic genre of the period. Poets of the Elizabethan age used poetry as a way to
express their wit and talent. It is likely that Marlowe’s poem would have been passed
around among his friends long before its publication in 1599 in England, six years
after the poet’s death. Few Elizabethan poets published their own work, especially
one as young as Marlowe, and so it is fairly certain that the poem was well-known
long before its publication. The composition date is thought to be about 1588, and
probably it generated many responses well before its publication nearly a dozen years
later. Among these responses was Sir Walter Raleigh’s “The Nymph’s Reply to the
Shepherd” (date unknown, but thought to be about 1592), which provides the
woman’s response to Marlowe’s shepherd. Marlowe’s poem also inspired several
other notable works that were similar in tone and content, including John Donne’s
“The Bait” (1633), which also relies upon wit and sexuality to entertain the reader.
“The Passionate Shepherd to His Love” is written in the pastoral tradition that
originated with Theocritus in Greece during the third century b.c. The pastoral
tradition is characterized by a state of contentment and of innocent and romantic love.
Rural country folk are presented in an idealized natural setting, while they
contemplate their perfect and peaceful world that is absent the worries and issues of
crowded city life. As was common of Elizabethan poets, Marlowe plays with the
traditional pastoral formula. He introduces sexuality and includes images that make
the shepherd’s plea seem ridiculous rather than ideal.
The speaker in “The Passionate Shepherd to His Love” is a shepherd, who pledges to
do the impossible if only the female object of his desires will accept his pleas. The
poem is static in time, with no history or clearly defined future. Only the present
matters. There is never any suggestion that the poet is asking the woman for a long-
term commitment; there is no offer of marriage nor does he offer a long-term future
together. Instead, he asks her to come and live with him and seek pleasure in the
moment. The use of “passionate” in the title suggests strong emotions, but may also
refer to an ardent desire to possess the woman sexually, since there is never any
declaration of love. The shepherd makes a number of elaborate promises that are
generally improbable and occasionally impossible. The woman’s response is never
heard, and she is not present in any way except as the object of the shepherd’s desire.
Prior to the composition of “The Passionate Shepherd to His Love,” early English
Renaissance poetry had been most concerned with romantic love. These poems,
which included poems by Sir Thomas Wyatt and Henry Howard, were traditional love
poems, characterized by the pleas of a rejected suitor who would find solace in the
soothing atmosphere of country life. Marlowe tweaked the traditional, transforming it
into a more dynamic piece. As a result, Marlowe’s poem remains a long lasting and
important example of the Elizabethan poet’s talent. “The Passionate Shepherd to His
Love” is included in most literature anthologies published for academic use, including
the seventh edition of the Norton Anthology of English Literature
Marlowe’s „The Passionate Shephered to His Love” as we can see from the text
above is a traditional love poem from Elizabethan period, but according to
Fludernik’s ideas which are the same with Werner Wolf’s ideas „ The Passionate
Shephered to His Love” is more narrative since it invokes an entire situation of
wooing that might be specific in space and time („Come live with me, and be my
love”)
Fludernik,Monik in Towards a „Natural” Narratology, proposes to distinguish

between three levels of text types and to start out from a functional approach that
takes the oral language as its primary model. Her presupposition is that the category
of genre also pertains in nonliterary discourse. Fludernik tries to fiind a slot for the
genre of poetry, for her the poem representing the most perfect example of literary
text without a clearly determinable communicative purpose, even where the mood of
the speaker is at issue , a poem seems to consist in a expression of feeling for its own
sake. Fludernik emphesize her conception of macro-genres as being a model open to
a diachronical perspective and that macro-genres are abstractions an do not exist, in
fact ,they „exist”much less concretely than do genres manifested in a huge number of
actual texts and do seem to influence composition by the weight of tradition and the
hypostacized „genre” concept emabating from tradition or practice.
Werner Wolf in „Aesthetic Illusion in Poetry” tries to resolve the issue of the
distinction between tha narrative and poetic genres. Wolf does not create an inviolable
barrier between poetry and what he calls aesthetic illusion which correlates with
mimesis as prototypically constitutive of narrative, drama, painting, film.
Mimesis-the term mimesis is derived from the Greek mimesis, meaning to

imitate. The OED defines mimesis as "a figure of speech, whereby the words or
actions of another are imitated" and "the deliberate imitation of the behavior of
one group of people by another as a factor in social change". Mimicry is defined
as "the action, practice, or art of mimicking or closely imitating ... the manner,
gesture, speech, or mode of actions and persons, or the superficial characteristics
of a thing". Both terms are generally used to denote the imitation or
representation of nature, especially in aesthetics (primarily literary and artistic
media).
Aesthetic illusion is an attractive effect of the reading process and a common

reception phenomenon. In contemporary culture it can be encountered as a response
to a plethora of traditional as well as new media, such as the visual arts, the theater,
opera, comics, radio drama, film and computer-created virtual realities (provided the
recipient maintains some distance), and one must not forget fiction, which continues
to have an important share in the illusion-creating media.
What Wolf wants to create is the reading of a poem in another way then the traditional
way, he says that a poem ca be read as an illusionistic text by positing the viewer as
engaged in a specific act of perception, one specific in space and time like it happened
in Marlowe’s „The Passionate Shephered to His Love” where Wolf is able to move
from displacement, abstraction and generality of poetry to aesthetic illusion. Wolf
does not align this poem with narrativity, his proposals, which are very interesting
reworking of his earlier positions in Asthetische Illusion, also introducind the
possible-worlds aspects of aesthetic illusion are located on the level of inter literary
analysis.
Bibliography:
Marlowe, Christopher .”The Passionate Shephered to His Love”
Fludernik, Monika. Towards a „Natural” Narratology. London:Routledge, 1996.
Fludernik, Monika. „Genres, Text Types, or Discourse Modes? Narrative Modalities

and Generic Categorization”.

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Narrative and Poetry in

Marlowe’s „ The Passionate

Fludernik,Monik in Towards a „Natural” Narratology, proposes to distinguish

Mimesis-the term mimesis is derived from the Greek mimesis, meaning to

Aesthetic illusion is an attractive effect of the reading process and a common

Marlowe, Christopher .”The Passionate Shephered to His Love”

Fludernik, Monika. Towards a „Natural” Narratology. London:Routledge, 1996.

Fludernik, Monika. „Genres, Text Types, or Discourse Modes? Narrative Modalities

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