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Recommended: Plato's forms of love
In Plato’s Symposium, the discussion on the nature of love between Socrates and his companions in the house of Agathon clearly discerns key ideas that Shakespeare uses in the sonnets. Beauty, youth, and love are all topics of discussion in the conversations, and Plato’s ideas show up again and again when the sonnets are explored. In Symposium, Aristophanes gives a detailed description of a time when humans were not in their present physical form (Plato 353). His tale posits that the original form of humankind differed from the present in that “sexes were not two as they are now, but originally three in number,” to which he adds, “there was man, woman and the union of the two, having a name corresponding to this double nature,” which is called androgynous (Plato 353). The physical nature of primeval man is discussed: "[Man] was round, his back and sides forming a circle; and he had four hands and four feet, one head with two faces, looking opposite ways, set on a round neck and precisely alike; also four ears, two privy members, and the remainder to correspond" (Plato 354). Aristophanes goes on to explain that the gods split these beings in two so that primeval man would not be as powerful as them. Eventually, the halves are filled out to create symmetry. Plato says, “human nature was originally one and we were a whole, and the desire and pursuit of the whole is called love” (Plato 357). Thus, the explanation of heterosexual and homosexual behavior can be delineated from this myth. The drive for love goes beyond the sexual into the spiritual. In Shakespeare’s sonnets, the poet persona battles feelings between a fair youth, who is often characterized as a young male, and the dark lady, who is a sensual female. Throughout th...
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... of Plato’s knowledge into one metaphysical string of sonnets dealing with two great organs geared towards the pursuit of beauty and truth, and he has made the arguments therein immortal, timeless, and beautiful, bringing every reader to a better understanding of Platonic love.
Works Cited
Plato. “Symposium.” The Works of Plato. Edman, Irwin, ed. New York, NY: Random House. 1956.
“Eye.” Oxford English Dictionary. Second ed. Volume V. 1998.
“Heart.” Oxford English Dictionary. Second ed. Volume VII. 1998.
Landry, Hilton. Interpretations in Shakespeare’s Sonnets. Los Angeles, CA: University of California Press.1964.
Shakespeare, William. The Complete Sonnets and Poems. Ed. Colin Burrow. New York, NY: Oxford University Press. 2002.
Violi, Unicio J. Shakespeare’s The Sonnets. New York, NY: Monarch Press. 1965.
Zeus split the spheres of the three original types of humans: male, female and androgynous; to form the two sexes. Ever since the division of spheres, each individual has been constantly searching for his or her other half. Sex was invented by Zeus to allow for reproduction and to allow productivity; simply put, so that people would “do it” and get on with their daily lives. However, the sex that Zeus introduced is not the vulgar or the lewd type of sex governed by Common Aphrodite (Eros) and Polyhymnia that is mentioned in Pausanias’s and Eryximachus’s respective speeches. Rather, Aristophanes does not define a vulgar species of love; all love and all sex is precipitated by the desire for two halves of a sphere to come together to make a whole, in attempt to return to their original state before Zeus’s punishment was cast down upon them. Aristophanes explains the creation of love and desire. “Love is born into every human being; it calls back the halves of our original nature together; it tries to make one out of two and heal the wound of human nature” (191D). Coincidentally, when another translation of Symposium is examined, the same passage reads: “so ancient is the desire of one another which is implanted in us, reuniting our original nature, making one of two, and healing the state of man” (Trans. Jowett).[1][1] Therefore, here is drawn the conne...
Within Symposium, Plato portrayed Love not as an idealization, but rather on the judgment that was made from Love’s control of the human body (lecture). One speech in particular, the one told by Aristophanes, presents an interest and mythical view on the concept of love. The love he describes is a dedication to the idea of soulmate love (lecture). Spherical people were being that were completely round, “they had four hands each, as many legs as hands, and two faces, exactly alike, on a rounded neck. Between the two faces, which were on opposite sides, was one head with four ears (Plato 25).” As these beings has more limbs and eyes than any god, they were considered too powerful which led to the god Zeus, splitting them in half. Once split, the beings began to die as they starved and became idle as they could not live without their other half (Plato 26-27). Aristophanes concluded that as their separation from one another was the cause to their deaths it was no less than a demonstration for the desire humans have to love one another, as stated on page 27, “This, then, is the source of our desire to love each other … heal the wound of human nature.” The perspective Aristophanes presents is about a fusion between one object - or individual, and the object of desire; love is about momentary intimacy both physical and emotional. Aristophanes presents the desire of the momentary intimacy that the human body craves in his speech by saying “ The purpose was this so that … they could stop embracing, return to their jobs, and look after their other needs in life (Plato 27).” This particular quote is important because it represents Aristophanes’ overall view that, human beings desire one another, they need one another; however, one they obtain their object of desire they are free to continue on with the rest of life’s
By writing Symposium, Plato uses six characters to convey his idea of Love, the process of learning and thinking in a philosophical way. Each of these characters has a particular mission to elaborate different spheres of Love. However, these speeches given by six characters are not totally independent. They, to some extent, are connected; some of them agree or disagree with the previous one; some of them improve the idea of the former speakers. In conclusion, according to Symposium, Love is multi-faced.
Love and beauty is another theme that recurs in Greek discussion, especially in Plato’s dialogues. In the Phaedrus and especially the Symposium, Plato discusses the nature of erotic love and give the argument for the ultimately transcendental object of love: Beauty. In both dialogues, Plato presents Socrates as a quintessential philosopher who is a lover of wisdom, and through his great speeches we are able to grasp Platonism and Plato’s view on the interesting theme.
Wilson, John Dover. An Introduction to the Sonnets of Shakespeare: For the Use of Historians
Pequigney, Joseph. Such Is My Love: A Study of Shakespeare's Sonnets. Chicago: University of Chicago Press, 1985.
Plato. Great Dialogues of Plato. Ed. by John Clive Graves Rouse. (New York NY: The New American Library, Inc., 1956).
All of the eulogies and speeches within Plato's novel give great insight as to the social workings and aspects of ancient Greek intellectuals. Through The Symposium the reader learns the different aspects and natures of love as viewed by these intellects. The theories and themes within the novel are discussed and compared with the opinions and beliefs of each person present. The more notable themes in the novel are the ideas of physical love and lust, and the importance of the reproduction of ideas as they are filtered through each of the speakers.
During the course of Edmund Spencer’s Amoretti, the “Petrarchan beloved certainly underwent a transformation” (Lever 98); the speaker depicts the beloved as merciless and is not content with being an “unrequited lover” (Roche 1) as present in a Petrarchan sonnet. Throughout Sonnet 37 and Sonnet 54, the speaker provides insight into the beloved not seen within the Petrarchan sonnets; though the speaker does present his uncontrollable love for the beloved, he does so through his dissatisfaction with his position and lack of control. In Sonnet 37, the speaker describes the beloved as an enchantress who artfully captures the lover in her “golden snare” (Spencer, 6) and attempts to warn men of the beloved’s nature. Sonnet 54, the speaker is anguished by the beloved’s ignorance towards his pain and finally denies her humanity. Spencer allows the speaker to display the adversarial nature of his relationship with the beloved through the speaker’s negative description of the beloved, the presentation of hope of escaping from this love, and his discontent with his powerlessness. Spencer presents a power struggle and inverted gender roles between the lover and the beloved causing ultimate frustration for the speaker during his fight for control.
Shakespeare’s sonnets are numbered in a sequential order and adjacent sonnets often have similar content. Throughout Shakespeare’s sonnets, he covers many subjects, such as interest in the life of a young man, his love for a young man, and his love for a dark haired woman. In sonnets 57 and 58, Shakespeare discusses how love is like slavery in its different manifestations. The object of the narrator’s love has a dominating power over the narrator, which controls him and guides his actions. Shakespeare shows in sonnets 57 and 58 that love can be displayed by using many different routes such as viewing love as a controlling force, exploring the theme of time and waiting in regards to love, and the question of the physical state of being of love.
Through the form of sonnet, Shakespeare and Petrarch both address the subject of love, yet there are key contrasts in their style, structure, and in the manner, each approaches their subjects. Moreover, in "Sonnet 130," Shakespeare, in fact, parodies Petrarch's style and thoughts as his storyteller describes his mistress, whose "eyes are in no way as the sun" (Shakespeare 1918). Through his English poem, Shakespeare seems to mock the exaggerated descriptions expanded throughout Petrarch’s work by portraying the speaker’s love in terms that are characteristic of a flawed woman not a goddess. On the other hand, upon a review of "Sonnet 292" from the Canzoniere, through “Introduction to Literature and Arts,” one quickly perceives that Petrarch's work is full of symbolism. However, Petrarch’s utilization of resemblance and the romanticizing of Petrarch's female subject are normal for the Petrarchan style.
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
From the works of William Shakespeare and Edmund Spenser it is clear that some similarities are apparent, however the two poets encompass different writing styles, as well as different topics that relate to each other in their own unique ways. In Shakespeare’s “Sonnet 18” and Spenser’s “Sonnet 75”, both poets speak of love in terms of feelings and actions by using different expressive views, allowing the similar topics to contain clear distinctions. Although Edmund Spenser’s “Sonnet 75” and William Shakespeare’s “Sonnet 18” relate in the sense that love is genuine and everlasting, Spenser suggests love more optimistically, whereas Shakespeare focuses on expressing the beauty and stability of love.
The love that a person has for someone is not the same for other people. They can look at their love through nature or just by their beauty. Shakespeare has the ability to explain his love for someone by using nature as a reference. Looking at two of Shakespeare’s sonnets 18 and 130 explore the differences and similarities between one another. In Sonnet 18 and 130, both show Shakespeare’s knowledge in developing his love and respect.
The ritual of courtly love had rigid codes of conduct associated with it. Shakespeare took his writing to new levels by subtly defying the codes of conduct and relating courtly love to relationships between both two men and a man and a woman. Shakespeare addresses his first 126 sonnets to the same fair man. Sonnet 18, by far one of the most famous of Shakespeare's sonnets, was written to illustrate his love and adoration for the man. Shall I compare thee to a summer's day?