Sir Thomas Wyatt - "Whoso List to Hunt" (1503-1542)

This poem might look like it's about hunting a deer, but it's actually Wyatt's clever way of writing about chasing after someone he can't have. The "hynde" (deer) represents a woman - possibly Anne Boleyn - who's already claimed by someone more powerful.

Wyatt uses the hunting metaphor to show how exhausting and pointless his pursuit has become. The speaker is "weried" (tired) from this "vayne travaill" (pointless effort) and knows he's fighting a losing battle.

The killer line comes at the end: "Noli me tangere for Cesars I ame" (Don't touch me, for I belong to Caesar). This reveals the woman belongs to the king, making her completely off-limits. The poem explores how social class and male power can destroy any chance of love.

Key insight: The poem shows how love becomes impossible when politics and power get in the way - a theme that connects directly to Gatsby's doomed pursuit of Daisy.

Shakespeare - Sonnet 116 (1564-1616)

Shakespeare's most famous love sonnet argues that true love is absolutely unshakeable. Unlike Wyatt's frustrated chase, this poem presents love as something permanent and reliable that can survive anything life throws at it.

The poem's central argument is that real love doesn't change when circumstances change - it's an "ever fixed mark" like a lighthouse that guides ships through storms. Shakespeare uses powerful imagery of stars and tempests to show love's strength against time and trouble.

Time becomes love's biggest enemy here. Shakespeare acknowledges that physical beauty fades ("rosie lips and cheeks" fall to Time's "bending sickle"), but argues that true love "bears it out even to the edge of doomsday."

The confident ending essentially says: if I'm wrong about this, then I've never written anything and no one has ever truly loved. It's Shakespeare putting his entire reputation on the line for his definition of idealised, enduring love.

Key insight: This idealised view of love contrasts sharply with the more realistic, complicated relationships you'll see in The Great Gatsby.

John Donne - "The Flea" (1572-1631)

Donne's poem is basically the most creative chat-up line in literary history. The speaker uses a tiny flea that's bitten both him and his lover to argue why they should sleep together - and it's as ridiculous as it sounds.

The metaphysical conceit (extended metaphor) works like this: since their blood is already "mingled" in the flea, they're practically married already. The speaker claims killing the flea would be "sacrilege" because it contains their sacred union. It's cheeky, manipulative, and clever.

When she kills the flea anyway, he quickly changes tactics. Now he argues that since she's not harmed by the flea's death, she won't be harmed by sleeping with him either. The "carpe diem" (seize the day) message is wrapped in wit and wordplay.

This poem shows male persuasion and sexual politics in action. Donne's speaker is charming but pushy, using elaborate arguments to pressure someone into sex. The conversational tone makes it feel modern and immediate.

Key insight: The poem reveals how men have used clever arguments to pressure women sexually - themes that echo in Tom Buchanan's controlling behaviour in Gatsby.

Andrew Marvell - "To His Coy Mistress" (1621-1678)

Marvell creates the ultimate "carpe diem" poem - a three-part argument trying to convince a woman to stop being shy and sleep with him. It's structured like a logical syllogism, but the logic is deliberately flawed and manipulative.

Part one flatters her with impossible hyperbole: he'd spend "ten years before the Flood" praising her eyes and "thirty thousand" years on other body parts. Part two gets dark fast - he reminds her that "worms shall try that long preserv'd virginity" in the grave. Death imagery replaces romantic flattery.

Part three delivers the punch: since time is running out, they should "tear our pleasures with rough strife" and make the sun run faster by seizing their moment. The imagery becomes violent and urgent, showing desperation beneath the charm.

The poem's brilliance lies in exposing how male sexual pressure works - mixing compliments, fear tactics, and false urgency. Marvell shows us the manipulative techniques while creating beautiful poetry from them.

Key insight: Like Gatsby's obsession with recreating the past, this poem shows how men use time pressure to justify questionable romantic behaviour.

Christina Rossetti - "Remember" (1830-1894)

Rossetti flips the script on male-dominated love poetry by giving us a woman's voice facing death. This Petrarchan sonnet is her message to her lover about what should happen after she dies - and it's surprisingly selfless.

The octave (first 8 lines) repeatedly uses "Remember me" as the speaker prepares her lover for separation. She acknowledges their planned future is cut short and that it'll be too late for prayers or advice once she's gone. The tone is gentle but realistic about death's finality.

The sestet (final 6 lines) contains the poem's emotional twist. She shifts from "remember" to "forget" - telling him it's "better by far you should forget and smile, than that you should remember and be sad." This shows genuine love prioritising his happiness over her memory.

As a Victorian woman writer, Rossetti challenges expectations about female selfishness while exploring themes of enduring love and sacrifice. The poem's restraint and nobility contrast sharply with the manipulative male speakers in earlier poems.

Key insight: Rossetti shows love as selfless concern for another's wellbeing - a stark contrast to the self-serving arguments of Donne and Marvell.

Ernest Dowson - "Non Sum Qualis Eram..." (1867-1900)

Dowson's poem captures the painful reality of trying to move on from someone while still being completely hung up on them. The speaker is physically with other women but emotionally stuck on Cynara, his lost love.

The refrain "I have been faithful to thee, Cynara! in my fashion" reveals the poem's central contradiction. He's sleeping with other people but considers himself faithful because his heart belongs elsewhere. It's emotional cheating disguised as loyalty.

Each stanza shows his failed attempts to forget: other lovers, dancing, drinking, seeking "madder music and stronger wine." But Cynara's "shadow" keeps falling across everything, making him feel "desolate and sick of an old passion" no matter what distractions he tries.

The poem perfectly captures obsessive, destructive love - the kind that stops you properly engaging with life. Dowson shows how some loves become prisons, keeping people trapped in cycles of longing and substitute satisfaction.

Key insight: This emotional infidelity and inability to move forward directly parallels Gatsby's obsession with Daisy - both men are faithful to ghosts while betraying their present reality.