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Critical introduction about sonnet 116
Sonnet 116 analysis
Sonnet 116 analysis
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Gatenby 1
Trevor Gatenby
Professor Grant Moss
English 3620
27 September 2014
Shakespeare’s Sonnet 116 William Shakespeare’s Sonnet 116 has always been one of my favorite works because of the value he places on love. Although I have read this sonnet many times before, I was glad to see that it was a topic of discussion this semester because I wanted to gain a further understanding of this particular sonnet. This sonnet comes in stark contrast to the first 15 sonnets where Shakespeare insists that the young man should not be wasting away his beauty. Lines such as “Profitless usurer, why dost thou use”, and “For having traffic with thyself alone” (lines 7 and 8) from sonnet 4 suggest a lot about the young man. In an era where getting married and having children at an early age was expected, the young man seems to be doing neither. Rather, as these lines suggest, he is being selfish with his own beauty. Because of this, in the first 15 sonnets Shakespeare is pleading with the young man to preserve his beauty by having
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He goes on to define love by what it doesn’t do, change. Claiming that love stays constant, even though people and circumstances may have inconsistencies; love never dies, even when someone tries to destroy it. Rather than being something that comes and goes, love is eternal and unchanging; so much so that the poet compares it to the North Star, which never moves in the sky and guides lost ships home. The use of the North Star as a metaphor, describes love because the reason we love is sometimes mysterious and perhaps incomprehensible, even though we can chart its location. This notion comes in contrast to the popular belief that falling in love can often be scary, often creating feelings of uncertainty and doubt. Shakespeare does a good job at wasting no time in saying that love is the most reliable entity that any individual can
In “Sonnet,” Billy Collins satirizes the classical sonnet’s volume to illustrate love in only “…fourteen lines…” (1). Collins’s poem subsists as a “Sonnet,” though there exists many differences in it countering the customarily conventional structure of a sonnet. Like Collins’s “Sonnet,” Shakespeare’s “Sonnet 130” also faces incongruities from the classic sonnet form as he satirizes the concept of ideal beauty that was largely a convention of writings and art during the Elizabethan era. Although these poem venture through different techniques to appear individually different from the classic sonnet, the theme of love makes the poems analogous.
Sonnet 130 is Shakespeare’s harsh yet realistic tribute to his quite ordinary mistress. Conventional love poetry of his time would employ Petrarchan imagery and entertain notions of courtly love. Francis Petrarch, often noted for his perfection of the sonnet form, developed a number of techniques for describing love’s pleasures and torments as well as the beauty of the beloved. While Shakespeare adheres to this form, he undermines it as well. Through the use of deliberately subversive wordplay and exaggerated similes, ambiguous concepts, and adherence to the sonnet form, Shakespeare creates a parody of the traditional love sonnet. Although, in the end, Shakespeare embraces the overall Petrarchan theme of total and consuming love.
William Shakespeare’s “Sonnet 130”, was published in the mid-1590, and published with the rest of Shakespeare’s sonnets in 1609. The sonnet has fourteen lines, and divided into three quatrains and one couplet at the end. The rhyme scheme is cross rhyme, with the last two lines being couplets that rhyme. The sonnet compares between nature and the poets’ lover or mistress. He shows a more realistic view of his lover. Needless to say his significant other wasn’t physically attractive, yet he loved her inside beauty. Today we may use the term, “It’s not all about looks, but what’s inside”.
The sonnet opens with a seemingly joyous and innocent tribute to the young friend who is vital to the poet's emotional well being. However, the poet quickly establishes the negative aspect of his dependence on his beloved, and the complimentary metaphor that the friend is food for his soul decays into ugly imagery of the poet alternating between starving and gorging himself on that food. The poet is disgusted and frightened by his dependence on the young friend. He is consumed by guilt over his passion. Words with implicit sexual meanings permeate the sonnet -- "enjoyer", "treasure", "pursuing", "possessing", "had" -- as do allusions to five of the seven "deadly" sins -- avarice (4), gluttony (9, 14), pride (5), lust (12), and envy (6).
This is an enjoyable sonnet that uses nature imagery, found extensively in Petrarca, that Shakespeare uses to get his point across. Not much explication is needed, aside the sustained images of nature, to fully understand its intent, but I would like to point out a peculiar allusion. When reading line 3, "the violet past prime" has made me think of Venus and Adonis. In the end, Adonis melts into the earth and a violet sprouts where his body was, which Venus then places in her heart, signifying the love she has for him. Reading this into the poem makes the few following lines more significant. Having Adonis portrayed as the handsome youth, Shakespeare is alluding to the death of youth (in general and to the young man) through the sonnet. In the next line, it is not certain if "sable" is an adjective or a noun and if "curls" is a noun, referring to hair (which is plausible) or a verb modifying "sable." Invoking the allusion to Adonis here, Shakespeare portends that if Adonis did live longer, he too would have greying hair; thus, Shakespeare sees ["behold"] an Adonis figure, the young man, past his youth.
Shakespeare's Sonnet 116, denying Time's harvest of love, contains 46 iambic, 15 spondaic, 6 pyrrhic, and 3 trochaic feet. Like the varying magnitudes of stars that distinguish the sky's constellations, infused with myths describing all degrees and types of love, the spondaic, trochaic, and pyrrhic substitutions create a pattern of meaning that can be inferred by the discerning eye and mind. Shakespeare emphasizes his denial of the effects of Time on love by accenting "not" in lines 1, 2, 9, and 11, and "no" in lines 5 and 14. The forceful spondees at the beginning and the regular iambic feet at the end of each quatrain progressively build the poet's passionate rejection of love's transience. Quatrains 1 and 3, declaring what love cannot be, enfold his definition of love in Quatrain 2. The spondee, "It is," draws attention to the word "star" and the poem's essential metaphor, equating love and the North Star, at the poem's heart in lines 7 and 8. This figure of speech implies that while one can feel the intensity of one's love, i.e. measur...
Shakespeare’s themes are mostly conventional topics, such as love and beauty. Nevertheless, Shakespeare presents these themes in his own unique fashion, most notably by addressing the poems of beauty not to a fair maiden, but instead to a young man: ‘‘shall I compare thee to a summer’s day? Thou art more lovely and more temperate” (book). Shakespeare points out that the youth’s beauty is more perfect then the beauty of a summer day. It is also “more temperate”, in other words more gentle, more restrained whereas the summer’s day might have violent excesses in store. At first glance of sonnet 18, it’s pretty much certain that one would think Shakespeare is referring to a woman, not a man. The idea of a man describing another man with such choice of words is always seen with a different eye. Several even stated that Shakespeare is homosexual. Whichever the case may be, Shakespeare painted beauty in the most original matter. He dared to do what everybody else didn’t, or maybe feared to, and accomplished his goal with flying colors. Besides, in his sonnets, Shakespeare states that the young man was made for a woman and urges the man to marry so he can pass on h...
has the gentle heart of a woman but is not inconsistent as is the way
William Shakespeare (1564-1616) lived in a time of religious turbulence. During the Renaissance people began to move away from the Church. Authors began to focus on the morals of the individual and on less lofty ideals than those of the Middle Ages. Shakespeare wrote one-hundred fifty-four sonnets during his lifetime. Within these sonnets he largely explored romantic love, not the love of God. In Sonnet 29 Shakespeare uses specific word choice and rhyme to show the reader that it is easy to be hopeful when life is going well, but love is always there, for rich and poor alike, even when religion fails.
Sonnet 73 by William Shakespeare is widely read and studied. But what is Shakespeare trying to say? Though it seems there will not be a simple answer, for a better understanding of Shakespeare's Sonnet 73, this essay offers an explication of the sonnet from The Norton Anthology of English Literature:
There’s an assortment of feeling that everyone experiences towards others, whether its hatred or sorrow. Of all the emotions, love appears to be the strongest of them all. As interpreted from Shakespeare’s sonnet 116, he states that true love cannot be identified until the end, and if by then they are still together, only then will it be identified as true love. Through life, other forms of love can be found, but those are just short term spurts of false love, that won’t, and don’t, last very long. Dr. Neder says, "When you carefully consider your words, thoughts and actions, and specifically how they will benefit that other person, you 're in love." (Dr. Neder, 1998-2014). In some odd instances, the false love can muddle through and succeed
This sonnet appears to be another version of 153 rather than one of a series. These two sonnets, two renderings of the same ides, could either prove or disprove Shakespeare's authorship. Only twice did Shakespeare rewrite any of his sonnets, both 138 and 144 appear slightly modified in _The Passionate Pilgrim_. These are evidence of Shakespeare's rewritings, but the only problem is if one is out to prove the authorship on these grounds, over-revision remains a factor; that is, Shakespeare rewrote the two sonnets changing only a few words and not the entire sonnet. These seem to be the problems with citing Shakespeaare as their author, but equally disproving him as the author. If I were to argue for Shakespeare's authorship, I would correlate "the help of bath" with being an allusion to "The Wife of Bath's Tale" in Chaucer's _Canterbury Tales_. Shakespeare used Chaucer as a source in _A Midsummer Night's Dream_ (from "The Kinght's Tale" and "The Miller's Tale"), _Troilus and Cressida_ (from _Troilus and Criseyde) and _The Two Noble Kinsmen_ (from "The Knight's Tale"). Seeing that Shakespeare used Chaucer as a reference in the past for help, I suppose "the help of bath" could be a tribut to Chaucer and thus a possible source or allusion. But this does remain on unsubstantial grounds due to the possibility of it simply meaning a water-filled basin.
Shakespeare clearly sees the woman as more extravagant than anything in the world, which by the way, would probably flatter every girl in the world. Although his lover may not be absolutely perfect, she is perfect for him, and that’s all he cares about. The youth that this sonnet is about, is previously mentioned when Shakespeare wished she would share her beauty with the world. All through the sonnets, Shakespeare is wishing to make the youth immortal so that this beauty in the world never has to
Shakespeare’s sonnets include love, the danger of lust and love, difference between real beauty and clichéd beauty, the significance of time, life and death and other natural symbols such as, star, weather and so on. Among the sonnets, I found two sonnets are more interesting that show Shakespeare’s love for his addressee. The first sonnet is about the handsome young man, where William Shakespeare elucidated about his boundless love for him and that is sonnet 116. The poem explains about the lovers who have come to each other freely and entered into a relationship based on trust and understanding. The first four lines reveal the poet’s love towards his lover that is constant and strong and will not change if there any alternation comes. Next four lines explain about his love which is not breakable or shaken by the storm and that love can guide others as an example of true love but that extent of love cannot be measured or calculated. The remaining lines of the third quatrain refer the natural love which can’t be affected by anything throughout the time (it can also mean to death). In the last couplet, if
Shakespeare's Sonnet 18 has the same theme as Sonnet 75 by Spenser: the poet makes his beloved immortal by means of his poetry. This theme is a conventional one in Elizabethan sonnets. But Shakespeare and Spenser treat it in an original and individual manner. Spenser starts from a concrete situation and uses dialogue to make his point. Shakespeare writes a monologue in the form of an address. It contains a carefully reasoned argument which, as in many of Shakespeare's sonnets, moves in a series of steps.