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Go and catch a falling star notes pdf - ppup part 1 english honours notes and study material pdf

September 24, 2024 0
 [  Go and catch a falling star notes pdf | ppup part 1 english honours notes and study material pdf ]


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Go and catch a falling star Analysis, Go and catch a falling star line by line explanation, Go and catch a falling star as a metaphysical poem

Introduction to Go and catch a falling star notes pdf


Table of contents - About the Poem About the Author Go and Catch a Falling star Explained line by line to its Context Questions. Summary of the Poem Go And Catch a Falling Star. Questions. Critical Analysis of Poem Go And Catch a Falling Star. Questions. Discuss The Theme of Go And Catch a Falling Star.

About the Poem of Go and catch a falling star notes pdf


About the Poem John Donne's "Go and catch a falling star," first published in 1633, is a fantastical take on a traditional theme: women's supposedly unavoidable infidelity. In the poem, a speaker tells a listener that he can look the whole world over, but finding a woman who'll be faithful to him is about as unlikely as finding a mermaid or meeting the devil. The poem's rhyme scheme, relatively steady meter, and clear hyperbole make its tone feel rather light-hearted and satirical. ‘Song: Go and catch a falling star’ by John Donne is a three-stanza poem that is separated into sets of nine lines. The lines follow a consistent rhyme scheme, working to the pattern of ABABCCDDD. The lines also stick to a syllable pattern that changes within the different sets of rhyme. For

example, the first four lines are the same, with seven syllables. The next two contain eight, then there are two two-syllable lines. Finally, the stanza ends with a seven-syllable line. This is a very unusual pattern that works best if read aloud. The fact that Donne titled this piece ‘Song…’ makes it clear that it was meant to be read, or sung. Throughout the poem, Donne uses light and sometimes humorous tone. He is annoyed by the general theme of the poem, the instability of women, but seems to have come to terms with it. He speaks as though this is just how things are,

and one must make the best of a constantly bad situation. While this piece does not feature the characteristics of metaphysical analogy found in other Donne works, there is an interesting comparison presented between the stanzas. He compares the impossibility of something like catching a star to finding an honest and beautiful woman. While a clear exaggeration, it appears to be the speaker’s own true belief that he’ll never come upon a woman who will treat him fairly and not run off with someone else.

About the Author Go and catch a falling star notes pdf | ppup part 1 english honours notes and study material pdf


About the Author The English writer and Anglican cleric John Donne is considered now to be the preeminent metaphysical poet of his time. He was born in 1572 to Roman Catholic parents, when practicing that religion was illegal in England. His work is distinguished by its emotional and sonic intensity and its capacity to plumb the paradoxes of faith, human and divine love, and the possibility of salvation.

Go and catch a falling star line by line explanation to its context


Go and Catch a Falling star Explained line by line to its Context Stanza One "Go and catch a falling star, Get with child a mandrake root, Tell me where all past years are, Or who cleft the devil’s foot,

Teach me to hear mermaids singing, Or to keep off envy’s stinging, And find What wind Serves to advance an honest mind" Explained - In the first stanza of this piece the speaker begins by telling the listener to “Go and catch a falling star.” It is for this line that the

poem is best known and is only the first representative of the outlandish tasks the speaker sets out. The next is to “Get with child,” or impregnate, a “mandrake root.” Both of these statements have a magical mood about them. The mandrake root is commonly associated with witchcraft or hallucinogens. He goes on to ask the listener to “Tell” him facts about the past, an impossibility as no one can truly know the history. The next statement refers to the “cleft” in the devil’s foot. He wants to know how it got there, or more simply, how it was decided which form the devil was to take.

In the next section of the first stanza, he asks the listener to teach him to “hear mermaids singing” or alternatively how to “keep off envy’s stinging.” There is an interesting contrast in these requests between personal need and personal interest. In the final tercet of rhyming lines, he adds that he wants to know what makes people honest. What “wind” or for what reason is some people honest and some deceitful. Stanza Two "If thou be’st born to strange sights,

Things invisible to see, Ride ten thousand days and nights, Till age snow white hairs on thee, Thou, when thou return’st, wilt tell me, All strange wonders that befell thee, And swear,

No where Lives a woman true, and fair." Explained - In the second stanza, he reveals the true purpose of this piece, to complain about the unfair way he has been treated by women. He expresses his belief that there are no women who are “true, and fair” or honest and beautiful, in the world. In the first lines, he tells the listener that maybe if “thou be’st born to strange sight.” Or more simply, if you are used to seeing unbelievable things, then you should “Ride ten thousand days and nights” and seek as many

“strange wonders” as can be found. He believes that anyone who attempted this would have to ride until their hair turned white and still they would not come upon a woman “true, and fair.” It is interesting to consider how the speaker came to this conclusion. It is not clear why he believes this to be the case, but obviously, something in his past tuned his mind in this direction. He is having trouble finding love, or perhaps he doesn’t believe in love at all. Stanza Three

"If thou find’st one, let me know, Such a pilgrimage were sweet; Yet do not, I would not go, Though at next door we might meet; Though she were true, when you met her, And last, till you write your letter,

Yet she Will be False, ere I come, to two, or three." Explained - In the final nine lines of ‘Song: Go and catch a falling star’ the speaker states that if “thou find’st” a woman who is both of these things, true and fair, then he will go on a “pilgrimage” to find her. He would suffer if there was a chance he could find the perfect partner.

He knows that this isn’t going to be the case though so he does not go. The speaker states that there is always the possibility that a woman who seems true and fair comes to him, but he thinks more than likely that “she / Will be / False” eventually. There might be a period of time before the realization comes to pass, but he knows that it eventually will. These lines are clearly problematic from a contemporary perspective. Donne does not explain what flaws these women have nor does he include women who are not to him beautiful.

He, therefore, separates women into two categories, those who are beautiful and faithless and those who are ugly and not worth considering. Questions. Summary of the Poem Go And Catch a Falling Star. Ans. - Introduction

Go and catch a falling star notes summary


About the Poem John Donne's "Go and catch a falling star," first published in 1633, is a fantastical take on a traditional theme: women's supposedly unavoidable infidelity. In the poem, a speaker tells a listener that he can look the whole world over, but finding a woman who'll be faithful to him is about as unlikely as finding a mermaid or meeting the devil. The poem's rhyme scheme, relatively steady meter, and clear hyperbole make its tone feel rather light-hearted and satirical.

‘Song: Go and catch a falling star’ by John Donne is a three-stanza poem that is separated into sets of nine lines. The lines follow a consistent rhyme scheme, working to the pattern of ABABCCDDD. The lines also stick to a syllable pattern that changes within the different sets of rhyme. For example, the first four lines are the same, with seven syllables. The next two contain eight, then there are two two-syllable lines. Finally, the stanza ends with a seven-syllable line. This is a very unusual pattern that works best if

read aloud. The fact that Donne titled this piece ‘Song…’ makes it clear that it was meant to be read, or sung. Throughout the poem, Donne uses light and sometimes humorous tone. He is annoyed by the general theme of the poem, the instability of women, but seems to have come to terms with it. He speaks as though this is just how things are, and one must make the best of a constantly bad situation. While this piece does not feature the characteristics of metaphysical analogy found in

other Donne works, there is an interesting comparison presented between the stanzas. He compares the impossibility of something like catching a star to finding an honest and beautiful woman. While a clear exaggeration, it appears to be the speaker’s own true belief that he’ll never come upon a woman who will treat him fairly and not run off with someone else. About the Author The English writer and Anglican cleric John Donne is considered now to be the preeminent

metaphysical poet of his time. He was born in 1572 to Roman Catholic parents, when practicing that religion was illegal in England. His work is distinguished by its emotional and sonic intensity and its capacity to plumb the paradoxes of faith, human and divine love, and the possibility of salvation. Summary Finally, the stanza ends with a seven-syllable line. This is a very unusual pattern that works best if read aloud. The fact that Donne titled this piece

‘Song…’ makes it clear that it was meant to be read, or sung. Throughout the poem, Donne uses light and sometimes humorous tone. He is annoyed by the general theme of the poem, the instability of women, but seems to have come to terms with it. He speaks as though this is just how things are, and one must make the best of a constantly bad situation. While this piece does not feature the characteristics of metaphysical analogy found in other Donne works, there is an interesting comparison presented between the stanzas.

He compares the impossibility of something like catching a star to finding an honest and beautiful woman. While a clear exaggeration, it appears to be the speaker’s own true belief that he’ll never come upon a woman who will treat him fairly and not run off with someone else. Conclusion Donne is not a romantic poet. Even while praising beauty, his attitude remains unromantic. Analysis of “Go and Catch a Falling Star” reveals that the poet has a false belief for women;

therefore, he jibes every beautiful woman on earth. He is not talking about any single woman but about every beautiful woman of the world. He is not against beauty but against disloyalty. Undoubtedly, the Poem is a masterpiece. The poet goes at the peak while describing impossibility of a work but suddenly comes down and says it may be possible; the only task, which is impossible in the eyes of poet, is to find a loyal and beautiful woman.

Critical Analysis of Go and catch a falling star | ppup part 1 english honours notes and study material pdf


Questions. Critical Analysis of Poem Go And Catch a Falling Star. Ans.- Introduction John Donne's "Go and catch a falling star," first published in 1633, is a fantastical take on a traditional theme: women's supposedly unavoidable infidelity. ‘Song: Go and catch a falling star’ by John Donne is a three-stanza poem that is separated into sets of nine lines. The lines follow a consistent rhyme scheme, working to the pattern of ABABCCDDD.

The lines also stick to a syllable pattern that changes within the different sets of rhyme. For example, the first four lines are the same, with seven syllables. The next two contain eight, then there are two two-syllable lines. Finally, the stanza ends with a seven-syllable line. This is a very unusual pattern that works best if read aloud. The fact that Donne titled this piece ‘Song…’ makes it clear that it was meant to be read, or sung. Critical Analysis of Poem "Go And Catch a Falling Star"

John Donne enforced a tight structure on his song Go and Catch a Falling Star (1630), with three stanzas each containing sestets with a rhyme scheme of ababcc and concluding with a rhyming triplet. That controlled format contrasts with the light tone used throughout, appropriate to a song about romance. However, as might be expected from Donne, the lyrical approach is undercut by a cynicism regarding the constancy of women. The speaker

suggests that women who can be trusted are rare in lines Donne uses ironically to mimic the serious romance poetry of his age. The first stanza begins with an order, the imperative, Go and catch a falling star, an obviously impossible task but presented as if it could be accomplished. The second line, “Get with child a mandrake root,” appears nonsensical, but Donne is probably referring to the mandrake root because of the mythology that surrounded it. In fables the mandrake took on human characteristics. Its three-to four-foot brown root

mimicked the shape of a human, was said to scream when jerked from the ground, and in medieval times was said to be used in witchcraft. Old drawings often depicted the root as male or female, depending on the number of branches it bore. The mandrake produced flowers that developed into fruit, nicknamed “Satan’s apples.” The allusion to Satan connects the plant imagery with the next two lines: “Tell me where all past years are, / Or who cleft the devil’s foot.” The gently taunting voice continues with mythological references, “Teach me to hear

mermaids singing, / Or to keep off envy’s stinging.” Because mermaids were believed to be halfwoman and half-beast and to lure sailors to their death, the theme of temptation, supported by the devil imagery, extends through those lines. Feminist critics would later find interesting the presumably male speaker’s requesting that a female teach him to hear the mermaid’s deadly song, “Or,” conversely, teach him not to be jealous in resisting the sting of envy.

That male attitude contradicts the attitude of distrust found in the remainder of the stanza. However, if the reader accepts that Donne’s topic was the inconstancy of women, the idea of a dishonest female’s tempting man may also be suggested through irony in the final rhyming triplet, “And find / What wind / Serves to advance an honest mind.” Things carried on the wind proved insubstantial, suffering a fleeting existence, conditions the speaker bestows on honesty in a female. In the second stanza, Donne continues his suggestion of the mystical as the speaker

declares, If thou be’st born to strange sights, Things invisible to see, Ride ten thousand days and nights, Till age snow white hairs on thee. He parodies the theme of eternal love found in traditional romance poetry with the use of an enormous number to illustrate the lengths to which a true lover’s dedication extends. Appropriate to the work of the metaphysical poets and poetry, Donne inserts a surprising use of words, converting the adjective and noun phrase snow white hairs to a verbal, with “hairs” becoming a verb suggesting aging over time. The

line might be paraphrased, “Until age, which is snow white, places hairs on thee.” The speaker mocks his listener through repetition of the term thou in the next line, noting that when she returns, she must tell him her tale: “Thou, when thou return’st, wilt tell me, / All strange wonders that befell thee.” He may ironically suggest that, because of her inconstancy, she is not likely to return, and if she does, she will lie about the “strange wonders” that drew her away. Donne then makes another skillful turn as the speaker concludes, “And swear / No where / Lives a woman true and

fair.” He suggests that out of all the wonders his listener observed over the thousand days, one of those was not a constant woman; she does not exist, even as a curiosity. At the beginning of the final verse, Donne keeps alive hope for the discovery of a faithful woman, which would be a highly valued goal for any long journey: “If thou find’st one, let me know, / Such a pilgrimage were sweet.” By using the term pilgrimage, he evokes thoughts of religion or a spiritual creed requiring a quest. However, the speaker declares that while his listener might travel far for such a prize, he

would not even step next door to meet such a woman should the traveler write to him of her existence, as she would probably have changed by the time he arrived. Thus, no news of that discovery need be sent to the speaker. The stanza ends with another simple, but this time more forceful, triplet that leaves no doubt regarding woman’s inherent temperament: “Yet she / Will be / False, ere I come, to two, or three.” Because the last stanza deals with a search for a woman, a traditional prize of classic and medieval quests, Donne may suggest the speaker

addresses a man in the final stanza, rather than the woman he has addressed in the first two stanzas. However, his sense of irony could be strengthened were a woman sent on the “pilgrimage,” as the woman embarking on the search would not be a “true” one. In his song, Donne comes full circle. He began urging his listener to attempt an impossible feat, that of catching a star in the process of falling. He concludes by warning that same listener that as soon as one believes a true woman has been located, she will also fall, quicker than “one, two, three,” disproving his theory that an honest woman exists.

Style of “Goe and Catch a Falling Star”: The poet has used colloquial style in the poem. Verse-pattern is neither conventional nor definable. Style of the poem changes with mood of the poet; it is, thus, dependent on emotions. There is a strange kind of music in it. Style analysis of “Go and Catch a Falling Star” reveals simplicity of the poem but it simultaneously is not conservative. The narrator is directly addressing the reader.

Tones Sometimes the tone is magical: ‘Go and catch a falling star’. Sometimes the tone is harsh and cruel: ‘Get with child a mandrake root’ Sometimes the tone is self-pitying: ‘envy's stinging’. Sometimes the tone is petulant [bitchy]: ‘I would not go, though at next door we might meet.’ Sometimes the tone is commanding or bossy: ‘Go …Get…Tell…Teach’. Sometimes the tone is hopeful and caring: ‘If thou find'st one, let me know,

Finally the tone is sour: ‘Yet she will be false, ere I come, to two, or three.’ Imagery Donne uses many comparisons. He compares an honest female woman to something impossible and magical like ‘a falling star’. He compares finding such a woman to hearing ‘mermaids singing’ or to solving impossible mysteries like knowing the past or explaining the cause of the devil’s hoof.

Note how Donne uses contrast, especially between ‘a woman true, and fair’ and a woman who ‘Will be false, ere I come, to two, or three.’ Donne’s images are very vivid and dramatic: ‘Ride ten thousand days and nights, Till age snow white hairs on thee’. Donne uses exaggeration: ‘Go and catch a falling star’;

Sound effects Alliteration[the repetition of first letters]:The repeated ‘b and 's’ sounds in ‘If thou be'st born to strange sights’. Assonanc [repetition of vowels]: The ‘a' sounds in ‘Go and catch a falling star’. Rhyming: There is a regular pattern.[The first and third lines rhyme, the second and fourth lines rhyme, the fifth and sixth lines rhyme as acouplet and

the last three lines rhyme at the end of each stanza]:The end sounds in the first stanza are as follows:‘ar’, ‘oot’, ‘are’, ‘oot’, ‘ing’, ‘ing’, ‘ind’, ‘ind’, ‘ind’.There is clearly a regular pattern. Theme: The song is actually on feminine inconstancy. Its theme is the lack of fidelity of women. According to the poet, no woman, who is both true and fair, can be traced anywhere. This is well struck in the last two lines of the second stanza: “No where ,Lives a woman, true and fair.”

However, this is not all. The poet even claims that constancy(faithfulness, loyalty) in women is not only rare, but also short-lasting. Even if a woman be found true and fair, she will change and prove false in no time – “Yet she, Will be, False, ere I come, to two or three.” Conclusion: Donne is not a romantic poet. Even while praising beauty, his attitude remains unromantic. Analysis of “Go and Catch a Falling Star” reveals that the poet has a false belief for women; therefore, he jibes every beautiful woman on

Critical Analysis of Go and catch a falling star | ppup part 1 english honours notes and study material pdf

Discuss the Theme of Go and catch a falling star notes pdf


Questions. Discuss The Theme of Go And Catch a Falling Star. Ans.- Introduction John Donne's "Go and catch a falling star," first published in 1633, is a fantastical take on a traditional theme: women's supposedly unavoidable infidelity. ‘Song: Go and catch a falling star’ by John Donne is a three-stanza poem that is separated into sets of nine lines. The lines follow a consistent rhyme scheme, working to the pattern of ABABCCDDD.

The lines also stick to a syllable pattern that changes within the different sets of rhyme. For example, the first four lines are the same, with seven syllables. The next two contain eight, then there are two two-syllable lines. Finally, the stanza ends with a seven-syllable line. This is a very unusual pattern that works best if read aloud. The fact that Donne titled this piece ‘Song…’ makes it clear that it was meant to be read, or sung. Theme of "Go Catch a Falling Star"

The poem explores a traditional literary theme of Donne's era: women’s romantic infidelity. Using vivid images of magic and mystery, the speaker insists that a faithful woman is so hard to find, she might as well be the stuff of legends! The speaker begins by commanding his listener to perform a series of impossible tasks, with the implication being that female honesty (or faithfulness) is in the same realm of impossibility. Some of the speaker’s tasks sound like they're right out of a fairy tale: impregnating a mandrake root (a tuber whose roots vaguely resemble a human and are often granted magical

qualities in folklore), listening to mermaids, and investigating the devil’s cloven foot. These images all have transgressive and/or sexual connotations: mermaids were meant to lure sailors to their deaths, impregnating a root would take black magic, and the devil’s foot—well, it belongs to the deceitful devil. The other tasks the speaker commands are more abstract and wistful. Seeking “past years” suggests a longing for lost time, while preventing “envy’s stinging” makes the reader suspect that the speaker might have had some painful

romantic disappointments lurking in those vanished years. The final lines, asking the listener to “find / What wind / Serves to advance an honest mind” punches the point home: rewards for the faithful are as hard to find as any legendary creature. Expanding on this idea, the speaker says that even if his listener spent an entire lifetime searching for a faithful woman, he wouldn’t find her. He imagines the listener on a visionary quest, creating a sense that the impossibilities of the first stanza might just be found somewhere.

The speaker also imagines his listener has the power to see “strange sights”: a magical gift that might allow him to discover the impossibilities of the first stanza. But even if such a seer were to spend his whole life looking, he’d never find “a woman true, and fair.” Here, the magical things of the first stanza are presented as just within the realm of possibility: a gifted person might be able to find them. However, he’d still never be able to find a faithful woman. This makes women’s fidelity even more legendary than a mermaid!

The speaker concludes by imagining that, even if his listener did find a faithful woman, that woman’s faithfulness would never last. The speaker wouldn’t bother going to see this hypothetical woman even if she were “next door,” because while she might have been faithful when the friend met her, she’d be unfaithful before the speaker could reach her. The final stanza thus moves from the magical uncertainty of the earlier part of the poem—when, after all, there’s some chance that one might see the invisible—to an earthly cynicism. The wistful romance of pilgrimages, falling stars, and magical quests is broken by the speaker’s

grim belief: no one will ever find a woman “true, and fair.” Conclusion Donne is not a romantic poet. Even while praising beauty, his attitude remains unromantic. Analysis of “Go and Catch a Falling Star” reveals that the poet has a false belief for women; therefore, he jibes every beautiful woman on earth. He is not talking about any single woman but about every beautiful woman of the world.

He is not against beauty but against disloyalty. Undoubtedly, the Poem is a masterpiece. The poet goes at the peak while describing impossibility of a work but suddenly comes down and says it may be possible; the only task, which is impossible in the eyes of poet, is to find a loyal and beautiful woman.

He is not against beauty but against disloyalty. Undoubtedly, the Poem is a masterpiece. The poet goes at the peak while describing impossibility of a work but suddenly comes down and says it may be possible; the only task, which is impossible in the eyes of poet, is to find a loyal and beautiful woman.

Conclusion for Go and catch a falling star notes pdf

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