The Nymph's Reply to the Shepherd Summary
The nymph’s reply begins in the subjunctive— the grammatical mood used to convey hypothetical or contingent action. The subjunctive is commonly expressed with the “if . . . were” construction: “If I were king,” for example, or, in the first line of the poem, “If all the world and love were young.” This usage sets up the primary rhetorical structure of the entire poem: the speaker is going to contrast the shepherd’s vision, his hypothetical world, with the realities introduced by the word “but” in the second stanza. While the second part of the “if” statement— “And truth in every shepherd’s tongue”—may seem the more biting, the nature of the contrast exists in the first part. What renders the shepherd’s vision false, the nymph says, is time: the world and love do not remain young. Thus, while she finds lovely the shepherd’s evocation of spring, shallow rivers, flocks of sheep and rocks that exist merely so lovers can sit on them, in reality these ideal images are time-bound, subject to change and decay. Thus, “time drives flocks from field to fold,” “rivers rage” from rainy weather, “rocks grow cold” with winter, and even the nightingale—the timeless symbol of beauty unmentioned in the Marlowe poem—becomes “dumb” with the change in seasons. In contrast with the nightingale are “the rest”—those who do not become dumb but who instead “complain of cares to come.” By this, the nymph means human beings who, burdened with the consciousness of passing time, are subject to the anxiety of future misfortunes. In the shepherd’s evocation, no such anxieties can exist because no such timeless world can exist: his vision, like Keats’s Grecian urn, is only a product of the imagination.
Raleigh makes frequent use of the poetic devices that give Marlowe’s poem its musicality. Yet the reader cannot help but sense the mockery in end-rhymes like “gall”/“fall” and “forgotten”/“rotten,” especially since they follow couplets in which Raleigh exactly duplicates Marlowe’s rhymes: “fields”/“yields” and “roses”/“posies.” It is as if the nymph adheres to the shepherd’s style one moment only to undermine it the next. The same is true for the way Raleigh mimics Marlowe’s overuse of alliteration, or the repetition of initial consonant sounds: “flowers” and “fade,” “wayward” and “winter,” “spring” and “sorrow,” “fancy” and “fall.” But the slyest form of mockery occurs in lines 9 and 10. Here, Raleigh imitates the glaring grammatical mistake found in the Marlowe poem: just as Marlowe fails to match the singular verb “yields” with its plural subjects in the first stanza of “The Passionate Shepherd to His Love,” so Raleigh mismatches the same singular verb in line 10 with its plural subject “fields” in line 9. But there are also bits of original trickery in the Raleigh poem. In the last line of the second stanza the reader might find a clever double-meaning for the words “spring”—meaning either “source” or the season— and “fall”—an allusion both to autumnal death and the to the “fall of man.” This last...
(The entire section is 790 words.)