

Idealization has long been a widely used sentiment in literature. Idealization is the over-estimation of the desirable qualities and underestimation of the limitations of a desired thing (Idealization). The idealized philosophy, when considered impetuous or foolish, typically receives a more reserved response that comes in the form of realistic and concrete ideology. Two such poems that encapsulate this dynamic are "The Passionate Shepherd to His Love", by Christopher Marlowe, and "The Nymph's Reply to the Shepherd", by Sir Walter Raleigh. This famous Marlowe composition is an original for "the invitation to love" archetype (Forsythe 692). If Marlowe shaped "The Passionate Shepherd to His Love" into a typical entreaty style poem, in which a male tries to draw in a female with extravagant promises (Poets' Corner - Subject Index - Carpe Diem - Seize the Day), than "The Nymph's Reply to the Shepherd" provides the quick rejection and grounded breakdown of his imprudent request. Marlowe explains the mutability and discomfort that the real seasons offer in the pastoral life (Edgecombe). In "The Nymph's Reply to the Shepherd", the nymph draws out the realistic side of life, and elucidates the opposite mindset to that of the shepherd. Both poems indicate entirely different levels of idealization, where "The Passionate Shepherd to His Love" illustrates a high level by conveying the gratification of impulse through a romanticized tone, but "The Nymph's Reply to the Shepherd" lays out the realistic equivalent of his reasoning to appease.

In order to understand this discrepancy, we must examine the contrast in imagery that describes the physical settings, which in turn influence the tone. The shepherd illuminates the beauty of the physical settings by describing them in dramatic fashion. The shepherd says that he and his love would be subject to the pleasures that "valleys, groves, hills, and fields / Woods or steepy mountain yields" (3-4). He trusts that they would spend time together, and suggests that they shall "sit upon the rocks, / Seeing the shepherds feed their flocks" (5-6).  He illustrates a life of serenity and rest, and only introduces mild activity to accompany the scenery. The shepherd also appeals to the auditory senses by describing how "Melodious birds sing madrigals,"(line 8) to the sounds of the river falls. He then references the flowers, with 

"I will make thee beds of roses

And a thousand fragrant posies,

A cap of flower, and a kirtle

Embroidered all with leaves of myrtle;" (9-12)

He demonstrates the enchanting nature of the pastoral setting, implying that the tranquil characterization of their surroundings will strengthen their love for each other. At no point during the poem does the shepherd allude to a change or corruption in the captivating purity of Nature. He suggests that the surroundings will remain this way forever. The shepherd explains a perfectly suited environment for his love, and confidently asserts that the pastoral atmosphere will suffice to their romantic needs. The nymph, however, offers a different image. She offers a practical explanation to counteract every reference to the dreamy nature of their setting. 

After the first quatrain, the nymph provides a parallel viewpoint on the position of Nature in their hypothetical relationship. She starts by referring to the shepherds and flocks that would be a point of calmness with the shepherd. She says that "Time drives the flocks from field to fold," (5), suggesting that the sheep will be driven into their stables by some extraneous force, presumably the arrival of winter. This line suggests emptiness, for there are no longer sheep for them to watch.  She then refers to the rivers which produce beautiful melodies, and rocks on which to sit by "When rivers rage and rocks grow cold;"(6). This image negates the peaceful comfort laid out in the "The Passionate Shepherd to His Love". The nymph suggests that the rivers sometimes become violent, and they do not always avail the birds in singing their Madrigals. She also says that the rocks grow cold, rendering them uncomfortable for sitting. In "The Passionate Shepherd to His Love", the shepherd makes no reference to a condition in which the rocks are not an option, but the nymph proposes an idea that the rocks and rivers are not always a perfect model for spending time together. After depicting these struggles, she then states that when conditions become less than flawless, those who spend their time wallowing in the fantasies of unspoiled Nature whine by asserting "The rest complain of cares to come" (8). Once circumstances evolve outside of the idyllic picture, people like the shepherd are shocked by the hardships of a new condition. The nymph then focuses on the flowers saying that they "do fade, and wanton fields / To wayward winter reckoning yields ;"( 9-10). She claims that the flowers will die away, and the flourishing crops will shrivel at the hand of winter. 

In the fourth stanza, the shepherd shifts to materialistic goods that he would personally craft for his love. He will make her "A gown made of the finest wool" (13), and "fair lined slippers for the cold" (15), among many other items listed throughout the next two stanzas including "Fair lined slippers" (15) and "A belt of straw and ivy buds," (17). The entirety of these stanzas section focuses on the material side of his affection towards his love. Not once does he mention his emotional connection to her, or what he could provide for her heart or spirit. His appeal could be classified as materialistic, or superficial. He plans for elaborate, ornate projects, hoping to tap into the worldly pleasures of his love. The impulsive nature of the shepherd seems so inspiring and youthful, but there is nothing solid to support him. The transitory makeup of his argument does not satisfy his intended love. The nymph spots this and makes reference to each and every item he proposes. She says that the items he would make for her would "Soon break, soon wither, soon forgotten, / In folly ripe, in reason rotten." (19-20). She views the objects as objects, not as symbols for his love to her. She takes an impersonal approach, casting aside initial emotion to look towards what change would do to her hypothetical relationship with him. She concludes by saying "But could youth last, and love still breed, / Had joys no date, nor age no need," (21-22), meaning that that if they did not have any of these worries, if life was not temporary or transitory, if the seasons did not change then "these delights my mind might move / To live with thee, and be thy love."(23-24). Were it not for the natural features of the world, she would live with him, but the real movements of life provide many situations that constrain her from doing so.

    Both of these poems illustrate vastly different outlooks on life due to the fact that the shepherd takes an idealistic approach, whereas the nymph prefers the realistic mindset. The execution in imagery allows the reader to distinguish one outlook from the other. The shepherd uses dramatic description to draw in his love, but the nymph uses brash reality to deny him. She argues that time does not stand still, instead many outside factors contribute to change. Once the change occurs, it will shock the shepherd, for he had not prepared himself to handle the change. This in turn would taint the relationship, and make it difficult to work. Raleigh suggests that one must carefully consider the consequences before acting upon sudden impulses, even if they overwhelm with emotion. Once again the reader is given a prime example of a youthful passion with his eyes set on a perfect life in the country side, and in response a harsh, more mature rejection.     

