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Critical Analysis of Sonnet 29 by William Shakespeare
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.
The first line is “When, in disgrace with Fortune and men’s eyes.” The very first word shows that the condition which will be explored in the sonnet is a temporary thing. It comes and goes like a beggar or like an outcast. Shakespeare used the word “when” to put the reader into the time that will be referred to. It automatically calls to mind an occurrence, and it makes the reader continue into the piece, trying to find out what Shakespeare will make occur. The next words are “in disgrace with Fortune and men’s eyes.” It seems that Shakespeare’s persona is down on his luck. Fortune, noticeably, is capitalized. This makes it a proper noun, a name perhaps. Shakespeare, on the other hand, could be trying to show the reader that fortune is something important, something that has power and meaning. Continuing into the line, “men’s eyes” appears. Notice that it is men’s eyes, not women’s eyes or man’s eyes. The latter, man’s eyes, would make it seem as if the persona was in disgrace with all of mankind, yet Shakespeare specifically chose to have disgrace in “men’s eyes.” This sh...
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...with the Fortune to become kings.
William Shakespeare shows the reader that religious hope is easy to come by when life is going well, but in the case of the persona it is even easier to fall away from religion. All that anyone truly has to fall back on is love. Love exists for both the rich and the poor, the powerful and the powerless. It costs nothing, and it breeds hope as well as happiness. To Shakespeare and his persona hope and happiness are worth more than all the jewels and gold a king could have. Gold and jewels are just items, and while they may glitter and shine, they cannot bring a man to Heaven. Whether it is physical, emotional, or religious, only love has the power to bring a man to the gates of Heaven.
Bibliography
Shakespeare, William. “Sonnet 29”. English and Western Literature. Ed George Kearns. New
York: Macmillan Publishing Co., 1984.
William Shakespeare’s legacy is carried on through many hip-hop artists and writers. Many elements in Shakespeare’s plays and sonnets are still widely used today in some of the most influential and impactful songs. Learning and absorbing Shakespeare can be difficult to understand while still young, but by making connections between Shakespeare and modern day music, it can make it a bit easier to comprehend and follow. J. Cole uses many elements in his song “Apparently” that were also included in Shakespeare’s sonnet thirty, but at the same time, there are a few differences in his music and lyrics, in comparison to Shakespeare’s writing.
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.
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...
This poem speaks of a love that is truer than denoting a woman's physical perfection or her "angelic voice." As those traits are all ones that will fade with time, Shakespeare exclaims his true love by revealing her personality traits that caused his love. Shakespeare suggests that the eyes of the woman he loves are not twinkling like the sun: "My mistress' eyes are nothing like the sun" (1). Her hair is compared to a wire: "If hairs be wires, black wires grow on her head" (3). These negative comparisons may sound almost unloving, however, Shakespeare proves that the mistress outdistances any goddess. This shows that the poet appreciates her human beauties unlike a Petrarchan sonnet that stresses a woman's cheek as red a rose or her face white as snow. Straying away from the dazzling rhetoric, this Shakespearean poem projects a humane and friendly impression and elicits laughter while expressing a truer love. A Petrarchan sonnet states that love must never change; this poem offers a more genuine expression of love by describing a natural woman.
William Shakespeare’s sonnets are renowned as some of the greatest poetry ever written. He wrote a total of 154 sonnets that were published in 1609. Shakespearean sonnets consider similar themes including love, beauty, and the passing of time. In particular, William Shakespeare’s Sonnet 75 and Sonnet 116 portray the theme of love through aspects of their form and their display of metaphors and similes. While both of these sonnets depict the theme of love, they have significantly contrasting ideas about the same theme.
A sonnet is a lyric poem of fourteen lines, following one of several set of rhyme-schemes. Critics of the sonnet have recognized varying classifications, but the two characteristic sonnet types are the Italian type (Petrarchan) and the English type (Shakespearean). Shakespeare is still nowadays seen as in idol in English literature. No one can read one of his works and be left indifferent. His way of writing is truly fascinating. His sonnets, which are his most popular work, reflect several strong themes. Several arguments attempt to find the full content of those themes.
has the gentle heart of a woman but is not inconsistent as is the way
This sonnet rhymed abab cdcd efef gg form. Most of his sonnets were written in the 1590s at the height of the vogue, but they were not published until 1609. The first 126 are addressed to a young man; the remainder (with the exception of the last two, which are conventional sonnets on Cupid) are addressed to an unknown "Dark Lady." Whether or not Shakespeare laid bare his heart in his sonnets, as many critics have contended, they are his most personal poems.
In the second quatrain, the lover grants to Time its own will: "And do whate'er
Almost four hundred years after his death, William Shakespeare's work continues to live on through his readers. He provides them with vivid images of what love was like during the 1600's. Shakespeare put virtually indescribable feelings into beautiful words that fit the specific form of the sonnet. He wrote 154 sonnets; all of which discuss some stage or feature of love. Love was the common theme during the time Shakespeare was writing. However, Shakespeare wrote about it in such a way that captivated his reader and made them want to apply his words to their romances. What readers do not realize while they compare his sonnets to their real life relationships is that Shakespeare was continually defying the conventions of courtly love in his writings.
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
In Shakespeare’s sonnet 130, the speaker ponders the beauty, or the lack thereof, of his lover. Throughout the sonnet, the speaker presents his lover as an unattractive mistress with displeasing features, but in fact, the speaker is ridiculing, through the use of vivid imagery, the conventions of love poems and the way woman are portrayed through the use of false comparisons. In the end, the speaker argues that his mistress may not be perfect, but in his eyes, her beauty is equal to any woman who is abundantly admired and put through the untrue comparison.
Among this being the first sonnet, it is the first of a sequence of procreation sonnets which are addressed to a man as an arguement for him to bear children. The image of flowers arises in this sonnet as we see beauty represented as a rose. 1-4: 'We want to reproduce with the most beatiful of people, so that beauty will remain [in life], but as the elder dies due to time, his child will quite possibly will remember him'. (Time can be read as personified as with the other sonnets). An idea of the offspring resembling the parents is present; therefore, it is of no wonder why we desire either the "increase" in aesthetic pleasure or the "increase" of heirs from the most beautiful. Line 7 gives the reader the notion that this man, since he has not produced children yet, is making barren the fruitful womb of his lover, thus making himself his own enemy. 11: 'bury your happiness in the bud (of the rose), [with the rose alluding to beauty], but beauty cannot bring forth happiness'. Shakespeare is chiding him for this as he is under the impression that he is making waste of the fruitful womb of his