Panic! At the Disco is an American alternative rock band who, over the last fifteen years released five records that follow the lead singer, Brendon Urie’s life. Throughout the maturing of the records Urie, introduces us to a woman that he has fallen in love with. As his love for the woman grows, he uses techniques, such as blazon, to explain the woman’s beauty. Blazon is a literary device used by Elizabethan poets who were writing about females. Objects of high value, such as gardens and flowers are used to describe the woman’s attributes. Panic! At the Disco’s songs ‘Nine in the Afternoon,’ ‘The Piano Knows Something I Don’t Know,’ and ‘Miss Jackson,’ and Stephan Campion’s ‘There is a Garden in Her Face’ use blazon to signify the beauty of
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He used the 14th century Petrarchan convention of praise, style of writing to invent blazon. This is the technique that picks out the most beautiful parts of a woman’s body and then compares those parts using metaphors to objects of high worth in the society. This technique is still seen in contemporary music of today, but the amount varies per genre as well as the objects of worth. In a rap or pop-based culture women are already seen as objects to acquire, so in music blazon is a lot more evident, while in jazz or blues-based cultures, blazon is a lot less used because women are not objectified. The object compared to the woman also changes per genre. In country music, women are compared to back roads, trucks and big wheat fields before harvest, while in pop culture they are compared to alcohol, money, or fame. Panic! At the Disco is under the genre of alternative rock where women are compared to romanticized objects like the moon, smoke dancing off a cigarette, heaven or storms.
Blazon in Panic! At the Disco’s ‘Nine in the Afternoon’ and in Stephan Campion’s ‘There is a Garden in Her Face’ show the virtue of the beloved through the metaphoric description of the woman’s body. The body parts are compared to beautiful things that represent purity, which in turn represents the woman’s virtue and beauty. In both pieces, the beloved is also depicted as strong. Each beloved has the …show more content…
This time, though, the beloved does not want to love Urie. She runs “out the back door” and appears in someone else's bed the next morning. He tries to compliment her comparing her face to “heaven catching lightning in your nightgown,” which is his way of saying her face is like a beautiful thunderstorm that he woke up in the middle of the night to watch. He would lose sleep to look at her face, but she does not want him. She disappears out of his back door after she is done with him to go find a new man to wake up beside. He is desperate for her, and says that even though she is running off to another man, he “love’s her anyway.” This is the final installment following Urie’s love for this girl. He will always love her, but he has lost her to another man.
In Campion's poem ‘There is a garden in her face,’ Campion discusses how no one, not even princes are worthy enough for his beloved, line 11, “yet them, nor peer nor prince can buy.” His beloved has denied everyone from her love. He is desperate for her, but he knows that she will not give him what he wants. In line 6, “Till “Cherry ripe!” themselves do cry,” states that until she is ready the lover will not get what he
He used the 14th century Petrarchan convention of praise, style of writing to invent blazon. This is the technique that picks out the most beautiful parts of a woman’s body and then compares those parts using metaphors to objects of high worth in the society. This technique is still seen in contemporary music of today, but the amount varies per genre as well as the objects of worth. In a rap or pop-based culture women are already seen as objects to acquire, so in music blazon is a lot more evident, while in jazz or blues-based cultures, blazon is a lot less used because women are not objectified. The object compared to the woman also changes per genre. In country music, women are compared to back roads, trucks and big wheat fields before harvest, while in pop culture they are compared to alcohol, money, or fame. Panic! At the Disco is under the genre of alternative rock where women are compared to romanticized objects like the moon, smoke dancing off a cigarette, heaven or storms.
Blazon in Panic! At the Disco’s ‘Nine in the Afternoon’ and in Stephan Campion’s ‘There is a Garden in Her Face’ show the virtue of the beloved through the metaphoric description of the woman’s body. The body parts are compared to beautiful things that represent purity, which in turn represents the woman’s virtue and beauty. In both pieces, the beloved is also depicted as strong. Each beloved has the …show more content…
This time, though, the beloved does not want to love Urie. She runs “out the back door” and appears in someone else's bed the next morning. He tries to compliment her comparing her face to “heaven catching lightning in your nightgown,” which is his way of saying her face is like a beautiful thunderstorm that he woke up in the middle of the night to watch. He would lose sleep to look at her face, but she does not want him. She disappears out of his back door after she is done with him to go find a new man to wake up beside. He is desperate for her, and says that even though she is running off to another man, he “love’s her anyway.” This is the final installment following Urie’s love for this girl. He will always love her, but he has lost her to another man.
In Campion's poem ‘There is a garden in her face,’ Campion discusses how no one, not even princes are worthy enough for his beloved, line 11, “yet them, nor peer nor prince can buy.” His beloved has denied everyone from her love. He is desperate for her, but he knows that she will not give him what he wants. In line 6, “Till “Cherry ripe!” themselves do cry,” states that until she is ready the lover will not get what he