This refusal alters the balance of power in the poem. In courtly love poems, the lady retains power over the speaker, who succumbs to her great beauty. He continually pays tribute to this beauty through the use of hyperbole. Jonson's speaker also uses this device as he praises his lady, but he does not flatter her physical attributes. He finds instead a potent essence within her that transfers kisses into wine and transfers immortality to a rosy wreath. The last four lines of the poem focus on this power and the lady's active connection with nature.
L ast fall’s noisy dispute around Elena Ferrante’s biographical identity ignited a wealth of contrasting yet instructive reactions. Whether troubled or newly admiring or indifferent to the apparent divergences between the empirical author’s life and that of her character Elena Greco, readers and critics did not venture to question the assumed existential parallel between the two. The books themselves, along with their marketing materials, quite clearly encourage it. But what if the alleged correspondence between Elena Ferrante and Elena Greco were just a diversion? What if the characteristics we identify in the latter, and implicitly attribute to the former, were only a carnival mirror shielding a deeper but less obvious commonality, the one between Ferrante and the brilliant friend herself, Lila Cerullo: namely, the unbearable loss of their presence?