Renaissance Art An Analysis of Love in the Renaissance Art of Sidney, Shakespeare, Hilliard and Holbein If the purpose of art, as Aristotle states in the Poetics, is to imitate an action (whether in poetry or in painting), Renaissance art reflects an obsession with a particular action -- specifically, love and its many manifestations, whether eros, agape or philia. Love as a theme in 16th and 17th century poetry and art

The gate by which this movement is issued comes in lines 7-9, as love becomes "free" and "pure," unlimited now by the "level" of the builder or the numbers of the mathematician. Now, she loves like the "saints" (12), who exist by God's grace, which she hopes shall allow her to continue to love even "after death" (14). Thus, Elizabeth incorporates a religious idea into a poem that centers

O Brother, Where Art Thou? Homer in Hollywood: The Coen Brothers' O Brother, Where Art Thou? Could a Hollywood filmmaker adapt Homer's Odyssey for the screen in the same way that James Joyce did for the Modernist novel? The idea of a high-art film adaptation of the Odyssey is actually at the center of the plot of Jean-Luc Godard's 1963 film Contempt, and the Alberto Moravia novel on which Godard's film is

They say, 'The coward dies many times'; so does the beloved. (p.57) Throughout A Grief Observed, Lewis rehashes the reasons that his wife was taken from him too soon. He cannot understand why he was given the gift of his wife's life, only to have that life taken from him. Like a coward envisions his own death many times before he dies, so the lover of someone who is dead envisions

43). To that comment, Tennyson is believed to have replied that the poem is "The embodiment of my own belief that the Godlike life is with man and for man" (Brunner, p. 43). In critiquing the Palace of Art Brunner offers common-sense substance that some previous critics had avoided. He claims that the poem demonstrates "to live in art…is to live for selfish delight" and living in selfish delight is

It only remains to see how this goal may be reached -- and Kierkagaard's book on aesthetics ends with the love letter from Climacus to Cordelia, in which we learn the true approximation of life and the simple path to the aesthetic goal (a path which Don Giovanni misses): "love is everything" (p. 407). Kierkagaard states, "For one who loves everything ceases to have intrinsic meaning and has meaning only