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Analysis of Shakespeare sonnet 64
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Analysis of Shakespeare sonnet 64
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Analysis of Sonnet 64
When I have seen by Time's fell hand defac'd
The rich proud cost of outworn buried age;
When sometime lofty towers I see down raz'd,
And brass eternal slave to mortal rage;
When I have seen the hungry ocean gain
Advantage on the kingdom of the shore,
And the firm soil win of the watery main,
Increasing store with loss and loss with store:
When I have seen such interchange of state,
Or state itself confounded to decay,
Ruin hath tought me thus to ruminate-
That Time will come and take my love away.
This thought is as a death, which cannot choose
But weep to have that which it fears to lose.
As A. Kent Hieatt did a great job in citing certain similarities in Sonnets to Spencer's Ruines of Rome: by Bellay, I was surprised enough not to dfind any parallels on sonnet 64 to that of Ruines of Rome. This sonnet delivers, moreso, the theme of Rome succumbing to time rather than textual correlations. I will provide a quatrain by quatrain explicaton that cites certain allusions to Spencer's text. In the first quatrain, time has destroyed Rome, the "buried age," having lived too long ("outworn") as a prosperous civilization. The "lofty towers" being "raz'd" echoes Rome being "Heapt hils on hils, to scale the starrie sky"; the first "hils" in Spencer refers to the Roman civilization and the physical buildings, whereas the latter "hils" refers to the mountains on which Rome was built. Thus, being "raz'd" are all of the monuments of Rome that are subject to mutability. Ambiguity in the second quatrain allows for two readings following the Roman theme. First, the "hungry ocean" is the sea itself which gains on Rome, "the kingdom of the shore," but if the ocean is rising against Rome, it is incongruous to say that the "firm soil" defeats the "watery main." A more appropriate alternate reading still refers to Rome as "the kingdom of the shore," but the "hungry ocean" refers to other civilizations that have tried to conquer Rome yet failed. 5-7: 'When I have seen usurping nations hostily advance towards Rome, and then steadfast Rome defeat the opposing navy,'. This latter reading more supports line 8, in which Rome 'increases [its] wealth through the gains of (Rome's) conquests [thus, "with loss"], and yet at the same time increases [its] loss "with store," (that is, time's store [of time])'.
This sonnet is fairly easy to read and understand, but there are a few subtle ways Shakespeare makes it more interesting. First, the "which" in line 4 seems to mean "that", but a pun arises when read aloud allowing "witch" to be replaced. This is definitley an option when referring to "Those hours," significant of time, as seeing time as a witch. Shakespeare does not hold time in such high regard, and therefore we get a slightly altered reading of line 4: 'and that unfair witch hastens your increasing age by fair means'. In this reading, time is both fair and unfair, much recieved as a child getting his deserved punishment. 5-6: '"Never-resting time" always forces summer into winter, where summer is unhappily detained'; 7-8: 'Where,the sap is encroached with frost, and the leaves of the tree have vanished, beauty being overly-covered and barren everywhere:'. 9-12: 'At that time summer was remembered through perfumes, (but) beauty's effect [the scent] was subsided through the perfumes [the scent is there, but the aesthetics are gone], and there was no remembrance what it really was'.
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 has been an important sonnet in trying to date the sonnets. Several words and phrases have prompted readers to ponder on the year it was written, ranging from 1588 to 1603. The main areas of concentration rely on the following: 1) the "eclipse" of the "mortal moon," in line 5; 2)who the "sad augurs" are and their "presage," in line 6; 3) allusion in lines 7 and 8, and if "confin'd doom" is in refernce to a certain event and which event that is. Of these, the most supported responses to 1 are: the Spanish Armada, 1588 (Butler, Hotson); the Queen's Grand Climacteric , 1595-6 (Harrison); the Queen's illness in 1599-1600 (Chambers); Essex's rebellion in 1601 (Tyler); the Queen's death in 1603 (eg. Massey, Minto, Lee, Beeching); a lunar eclipse, 1595 (O.F. Emerson); or an eclipse of the Queen's favour (Conrad). Answers to the second problem relate closely with the first, that is, with the addition of a fear of civil war as a result of Elizabeth's death and also the usual forecasts of political (and other) disasters that were forecasted from the eclipse. The third problem cites the confidence seen in lines 7 and 8,a dn therefore the overshoot of the proclaimed disasters. The fourth seems to refer to the imprisonment of some specific individual, eg. Southampton, who was released after James I accession to the throne.
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:
A person with a family history of depression is 2 to 6 times more susceptible to experiencing depressive moods than someone who has no family history. The behavior that is observed can be learned and in turn misinterpreted as acceptable conduct. Misunderstanding can lead to learned behaviors such as the inability to communicate effectively with others. The breakdown in communication can cause teenagers to develop aggressive behaviors. The aggression is a defense method for dealing with depression (Preddy & Fite 2014).
Sonnet 73 is a meditation on mortality, and yet it can be interpreted in a number of ways. The first such interpretation is that the author of the poem is speaking to someone else about his own death that will inevitably come in the future. This interpretation has the poem focused on the author, and his focus and concern over himself. This makes him seem very selfish, because we are all going to die sooner or later, and it does not do any good to dwell on or complain about it. The only use that this interpretation really has is to evoke pity in the author, or the speaker of the Sonnet.
The passage of time is a popular theme amongst Shakespeare’s sonnets more specifically in Sonnet 12. In Sonnet 12 Shakespeare speaks about seasons changing and objects dying all as time passes without pause. Event after event happens in a cycle with birth being the start and death being the end and everyone is a part of it. It is also important to note that this being Sonnet 12 is significant in that there are twelve hours in a day, twelve hours in a night, and twelve months in a year which plays into the theme of time. Shakespeare creates the resolution that the passage of time cannot be avoided and the only way to deal with it is to be brave and breed so that one’s species lives on and he does his by implementing antithesis, imagery, alliteration, and personification into his sonnet.
Lackluster love is the subject postulated in both sonnets, Petrarch 90 and Shakespeare 130. This is a love that endures even after beauteous love has worn off, or in Petrarch, a love that never was. The Petrarchan sonnet utilizes fantasy to describe love. It depicts love that is exaggerated and unrealistic. Shakespeare’s sonnet, on the other hand, is very sarcastic but it is more realistic as compared to the Petrarch 90. Petrarchan sonnets, also called Italian sonnets were the first sonnets to be written, and they have remained the most common sonnets (Hollander 28). They were named after the Italian poet Petrarch. Its structure takes the form of two stanzas, the first one an octave, in that, it has eight lines, and the next stanza is a sestet, meaning that it has six lines. The rhyme scheme suits the Italian language, which has the feature of being rhyme rich, and it, can take the forms of abbaabba, cdcdcd, or cdecde. These sonnets present an answerable charge in the first stanza, and a turn in the sestet. The sestet is the counter argument of the octave.
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’s Sonnet number 18 seems to Shakespeare immortalizing the subject’s beauty in his “eternal lines”. The subject will live forever in this poem, because Shakespeare is such a great poet that people will continue to read his poem forever, These “eternal lines” are really family lines, or children. Although this poem seems to be about his beloved and her beauty, it is really self-interested; Shakespeare is trying to continue his own legacy through family lines.
This sonnet shares several similarities in imagery as sonnets 63 and 66, and also to the theme of time and Rome as seen in Spencer's translatory sonnet sequence, _Ruins of Rome by: Bellay_. To best understand this sonnet we must realize to what or whom the pronouns refer to. My explication relies on "their" in line 2 referring to both time and ruin, a theme sustained from sonnet 64. 1-2: 'Only depressing mortality can overturn the tyranny of time and ruin, considering that brass, stone, earth or sea cannot prevent it'. Thus, death is an escape from time and the ruin which it imposes. The second quatrain is reminiscent of the thematic imagery of Rome's susception to time in sonnet 9 of _Ruines of Rome_: "Why were not these Romane palaces / Made of some matter no lesse fime and strong? . . . All things which beneath the Moone haue being / Are temporall, and subject to decay." Echoing the elements in the first line of the sonnet, Shakespeare is iterating the inability to avoid and prevent time. "Battering days" also shares this imagery as "Time's injurious hand crush'd"; which, to note further, appears as "iniurious time" in Spencer's work. Knowing this, he appeals to dreadful and injurious knowledge in line 9: 'where should we hide time's most precious jewel [our youth] from the vault it is held in'. the reason I believe the jewel to be a symbol of youth stems from sonnet 63, in which time steals "away the treasure of his spring." Spring here, and in many other sonnets of Shakespeare, refers to youth and sexual prime.
By the time teens turn fifteen years old, girls are twice as likely as boys to have suffered from a depressive disorder. But when teens are depression, it can come at a time when changes are continuously happening. Teens are dealing with their identities, and the issues of sexuality and hormones are becoming a bigger part of their lives. Depression with teens can tie in with disorders such as eating disorders or substance abuse. Teens who are depressed are also at an increased risk for attempted or successful
"Because young people tend to carry the smoking habits they develop in adolescence into adulthood, the substantial and continuing increases in teen smoking bode ill for the eventual longevity and health of this generation of American young people," concludes Johnston. "Hundreds of thousands of children from each graduating class are likely to suffer appalling diseases, and to die prematurely, as a result of the smoking habits they are developing in childhood and adolescence." Young people continue to report cigarettes as being easily available to them: 77 percent of the eighth-graders, who are 13 or 14 years old, report that cigarettes would be "very easy" or "fairly easy" for them to get, and 91 percent of th...