Ben Jonson ‘s verse form, “ Still to Be Neat, ” and Robert Herrick ‘s verse form, “ Delight in Disorder, ” both argue the subjects of naturalness. While both verse forms have similar subjects, their attack to the topic of art are opposite. Jonson uses a discreet attack, while Herrick is more up forepart and lighthearted directory http://collegecareernight.com/drama-and-theater/purity-of-spirit-in-archibald-macleishs-jb . The construction, word pick, and enunciation of each verse form helps further their statement of natural beauty. This is important in demoing how Jonson and Herrick ‘s verse forms both discuss the beauty in nature and art, and therefore demoing that being natural and carefree is preferred to punctilious privacy.

The sentence structure of “ Still to Be Neat ” and “ Delight in Disorder ” assistance in acquiring the subject across to the reader. Both verse forms are in the metre of iambic tetrameter. Stresses on the syllables in the words “ frock ” and the ‘o ‘ in “ upset ” show, in Herrick ‘s verse form, that the order of the frock is the chief statement of the verse form. The syllables in the words “ orderly ” and “ dressed ” are stressed to demo the cardinal topic of the verse form. Jonson ‘s verse form is two stanzas while Herrick ‘s verse form is merely one stanza. In the first stanza of Jonson ‘s verse form, the talker describes a adult female with her make-up on and the 2nd stanza describes a vision of the adult female without her make-up. The individual stanza of Herrick ‘s verse form is a uninterrupted idea that can non be broken up. This shows that the talker can non believe about anything else except the adult female of the verse form. Herrick ‘s one stanza consists of 14 lines that describe the “ sweet upset ” the talker references in line 1. The first 12 lines are really stretched rimes that are a small helter-skelter. These lines represent the pandemonium of the apparels. Jonson ‘s verse form is 12 lines that has a eldritch rime at the beginning of the verse form. The words “ dressed ” and “ banquet ” do non rime every bit good as the remainder of the rimes in the verse form. This could be emphasizing that the attending to inside informations, in composing or in dressing, is non ever of import. Each verse form consists of riming braces throughout the whole verse form. The consistent braces represent the flawlessness adult females believe they must accomplish. The gaiety of the rimes present to the reader how Herrick and Jonson prefer that the attending to acquiring dressed should non be so serious. This is important in demoing that the construction of the verse form adds to the subjects of natural and unworried beauty.

Herrick ‘s attack to the subject is more arch when being compared to Jonson ‘s verse form. “ Delight in Disorder ” is a cavalier verse form, which justifies the usage of playful initial rhyme such as “ winning moving ridge ” ( line 9 ) . Line nine provinces “ Ribbons to flux confusedly ; / A winning moving ridge, meriting note. ” The initial rhyme gives the verse form a blithe tone. The word “ winning ” means to suppress and “ moving ridge ” means to rock to and fro ( “ winning, ” “ moving ridge, ” Oxford English Dictionary ) . The threads are beckoning in a inattentive mode that the talker enjoys. This unworried mode can be seen throughout the whole verse form. Wordss such as “ distraction, ” “ inattentive, ” “ confusedly, ” “ careless, ” and “ wild, ” describe the upset of the apparels within the verse form ( lines 4, 7, 8, 11, 12 ) . The words “ sweet, ” “ all right, ” “ winning, ” “ deserving, ” and “ stormy, ” describe the delectation the talker positions within all the upset ( lines 1, 4, 9, 10 ) . The whole verse form is “ a sweet upset ” due to its cockamamie rimes and its perfect rime at the terminal of the verse form ( line 1 and PJ Emery ) . The helter-skelter rimes represent the upset and the last pair represents the sugariness of the confusion.

Herrick ‘s gaiety reveals itself in the lines that describe pieces of vesture. The vesture brings the reader ‘s attending to organic structure parts. For illustration, the talker states “ A lawn about the shoulders thrown/ Into a all right distractioIa‚¬n ” ( lines 3-4 ) . The piece of linen attracts the talker to gaze at the adult female ‘s shoulders. The linen is non carefully put in topographic point on the shoulders of the adult female, but instead “ thrown ” about in a unworried mode. This usage of inattentiveness attracts the talker the most because it is non precise. The word “ distractioIa‚¬n ” is a distraction itself due to its spelling. It is a drama with words that give the verse form its amiable tone. The talkers association with apparels and organic structure parts give the verse form a sexual tone. The talker states “ A careless shoelace… /Do more bewitch me than when art/ Is excessively precise in every portion ” ( lines 11, 13-14 ) . Carelessly placed pieces of vesture attract the talker to the adult female. He would instead see a helter-skelter muss of apparels thrown on instead than a neatly placed outfit. The carelessness of the outfit is what attracts the talker. This is important in demoing that the talker feels the upset in dressing is what makes the adult female beautiful.

Jonson ‘s attack to the subject is less upfront. The talker urges his love to demo him her natural beauty instead than the frontage she puts on every second of the twenty-four hours. The word “ still ” is throughout the whole first stanza. Harmonizing to the Oxford English Dictionary, the word still means ever and continuously without alteration. The talker uses this word when stating “ Still to neat, still to dressed/ As you were traveling to a banquet ” ( lines 1-2 ) . Bing over-dressed all the clip is non what attracts the talker. The talker states “ Give me a expression, give me a face/ That makes simpleness a grace, ” which urges the talker ‘s love to uncover her true beauty. He prefers the less complicated face over the 1 with make-up that hides the truth. Phrases and words such as “ simpleness, ” “ slackly streamlined, ” “ free ” and “ sweet disregard ” are what attract the talker the most ( lines 8, 9, 10 ) . These words describe a unworried attack to life that the talker would prefer his adult female to populate. Thus, demoing that simpleness is preferred than forced beauty.

The talker of “ Still to Be Neat ” does appreciate the physical visual aspect of a adult female. In the last three lines of the verse form the talker says “ Such sweet disregard more taketh me/ Than all criminal conversations of art./ They strike mine eyes, but non my bosom ” ( lines 10-12 ) . Although the make-up is appealing characteristic on the surface it does non impact the talker ‘s bosom, which truly affairs. The talker is non satisfied with “ art ‘s hid causes ” because they do non uncover the true nature of the adult female ( line 5 ) . Physical beauty is non what the talker seeks but seeks a deeper connexion. This is important in demoing that beauty is non all it takes to win a adult male ‘s bosom.

Both poems discuss art. Herrick refers to the art of dressing. Jonson refers to the art of dressing every bit good as the art of criminal conversation. Jonson poems for a sexual tone in line 11 when the talker states that the carelessness of the apparels attract him more than “ the criminal conversations of art ” ( line 11 ) . This line shows how much power the art of dressing has on the talker. Dressing playfully can forestall the talker from rip offing. Herrick finds a simple piece of dressing “ stormy ” due to its confusing mode ( line 10 ) . Both poets display the subjects of nature and art are in association with vesture throughout each verse form.

The art of dressing should non be scrupulous order but a relaxed muss. Both Herrick and Jonson show in their verse forms that art is better when it is natural instead than hiding it to look perfect. Herrick takes a more arch path, while Jonson is more discreet but still shows a blithe side. Each poets approach varies but the message of natural beauty is consistent in both verse forms.