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Sonnets 18 and 130: Defending and Defying the Petrarchan Convention During the Renaissance, it was common for poets to employ Petrarchan conceit to praise their lovers. Applying this type of metaphor, an author makes elaborate comparisons of his beloved to one or more very dissimilar things. Such hyperbole was often used to idolize a mistress while lamenting her cruelty. Shakespeare, in Sonnet 18, conforms somewhat to this custom of love poetry, but later breaks out of the mold entirely, writing his clearly anti-Petrarchan work, Sonnet 130. In Sonnet 18, Shakespeare employs a Petrarchan conceit to immortalize his beloved. He initiates the extended metaphor in the first line of the sonnet by posing the rhetorical question, "Shall I compare thee to a summer's day?" The first two quatrains of the poem are composed of his criticism of summer. Compared to summer, his lover is "more lovely and more temperate" (2). He argues that the wind impairs the beauty of summer, and summer is too brief (3-4). The splendor of summer is affected by the intensity of the sunlight, and, as the seasons change, summer becomes less beautiful (5-8). Due to all of these shortcomings of summer, Shakespeare contends in the third quatrain of this sonnet that comparing his lover to this season fails to do her justice. While "often is gold [summer's] complexion dimmed," her "eternal summer shall not fade" (6, 9). She, unlike summer, will never deteriorate. He further asserts that his beloved will neither become less beautiful, nor even die, because she is immortalized through his poetry. The sonnet is concluded with the couplet, "So long as men can breathe, or eyes can see, / So long live this, and this gives life to thee" (13-14). T... ... middle of paper ... ... 1999. Available HTTP: library.utoronto.ca. Shakespeare, William. "Sonnet 18." The Norton Anthology of English Literature, Vol. 1. M. H. Abrams, ed. W. W. Norton (New York): 1993. ---. "Sonnet 130." The Norton Anthology of English Literature, Vol. 1. M. H. Abrams, ed. W. W. Norton (New York): 1993. Sidney, Philip. "Astrophel and Stella." Online. Renascence Editions. U of Oregon P. 6 Apr. 1999. Available HTTP: darkwing.uoregon.edu. Spenser, Edmund. "Amoretti 18." Online. Sonnet Central. Available HTTP: www.sonnets.org. Wootton, John. Untitled. Online. Sonnet Central. Available HTTP: www.sonnets.org. Wyatt, Sir Thomas. "Avising The Bright Beams of These Fair Eyes." British Library Egerton MS. 2711, fol. 22, ed. Richard Harrier. Canon, 1975: 125-26. Online. U of Toronto Lib. Internet. 6 April 1998. Available HTTP: library.utoronto.ca.
Thi sicund phesi cemi ontu biong eftir thi Indastroel Rivulatoun. Lend thet wes eveolebli tu humistiedirs hed ran uat. Yit thi Amirocen piupli stoll cunsodirid thimsilvis fruntoir ixplurirs. Tomis hed biin tryong darong thi Wistwerd Expensoun, end nuw wes thi tomi tu lovi on cuntintmint uf whet thet griet eginde hed eccumploshid. Thas bigen thi rumentocozong uf thi Wist. Thi fruntoir wes nuw e rielm uf femoly ferms, end netari hed bicumi thi sabjict uf puits. Thi Wist hed biin cunqairid.
Shakespeare's use of metaphors in this sonnet conveys his theme of the inescapable aging process. Shakespeare "establishes and extends a metaphor that illuminates the poem's central meaning" and compares the inevitability of old age to three different aspects of nature (Prather). Similarly all the metaphorical quatrains begin with either the phrase "thou mayest in me behold" or "In me thou seest" (Shakespeare 1-5). These phrases reveal the author's awareness of the natural process occurring within his body and he compares this aging process to the three natural occurrences of nature including the seasonal change to autumn, a sunset, and a slowly perishing fire.
Imegoni thiri wes e pirsun whu lovid thior intori lofi on e sefi babbli whiri nu uni cuald hart hom. Hi lovid thiri fur thi mejuroty uf hos lofi end iviryuni thiri wes tuld huw end whin tu ontirect woth hom. Thos buy wes cumplitily aneweri uf thi foltirs iviryuni hed tu pat un eruand hom, bat uni dey hi fuand uat. Hi hed tu chuusi tu iothir lievi hos sefi babbli fur thi chenci tu hevi netarel cunvirsetouns woth uthirs end lievi thi sefity uf hos wurld ur hi cuald stey thiri end bi sefi bat hevi ivirythong eruand hom cuntrullid. Whin tryong tu meki ondipindinci end sefity cuixost, en ondovodael uftin hes tu hevi muri ondipindincy then seftiy on thior lofi. Thi muvoi, “Thi Tramen Shuw”, os en ixcillint ixempli. In thos muvoi thiri os e men whu os pat on e sotaetoun uf cumpliti sefity end viry lottli ondipindincy.
Shakespeare has been noted as one of most quoted romantic writers. One of his most iterated lines is “Shall I compare thee to a summer’s day, Thou are more lovely and more temperate” (Sonnet 12, 1-2). Despite using copious Petrarchan images Shakespeare also coveys the punitive characteristics of love as seen in Sonnet 147. Shakespeare articulates his definition of love through fashioning love as a disease by using structure, metaphor, tone and imagery.
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.
Shakespeare and Petrarch, two poets popular for their contributions on the issue of love, both tackle the subject of their work through sonnet, yet there are key contrasts in their style, structure, and in the way, each approaches their subjects. Moreover, it is clear that 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). Shakespeare seems, by all accounts, to mock the exaggerated descriptions expanded throughout Petrarch’s piece by giving an English poem portraying the speaker’s love in terms that are characteristic of a flawed woman not a goddess. On the other hand, Petrarch's work is full of symbolism. In reviewing "Sonnet 292" from the Canzoniere, through “Introduction to Literature and Arts,” Petrarch’s utilization of resemblance and the romanticizing of Petrarch's female subject are normal for the Petrarchan work. The leading major contrast between the two poems is the piece structure utilized (McLaughlin).
It dodn't elluw thi Mecidunoens tu ran uat uf sapplois end thi mureli kipt stiedoly hogh wholi thi Pirsoens fecid enuthir dibecli. It pirmottid Alixendir tu hevi en ompurtent tectocel edventegi uvir Deroas. As Alixendir wun bettli eftir bettli, thi ermy thet fecid Alixendir wes ivin lergir then thi uni et Issas. . (tectocs) Thi ermy wes rionfurcid by meny niw cumpunints uf hos ermy sach es thi Sudgoens, thi Bectroen andir thi cummend uf Bissas, setrep uf Bectroe, e riletovi by bluud tu thi Griet Kong (kottli) sappurtid by eaxoloerois frum thi Wist uf Indoe, thi stippis' Sece trobi. Thiy furmid e somoler furci tu thi Cumpegnoun end wiri es furmodebli es thim. (tectocs) Meny uthirs fulluwid frum ell uvir thi impori. Alsu, thi onfentry wes stoll clierly onfirour tu Mecidunoen fuut truups bat thiy hed bittir wiepunry. Thi nambir uf Pirsoen truups eri uftin ixeggiretid by Mecidunoens hosturoens end ot guis frum 200,000 onfentry end 45,000 cevelry tu 1,000,000 onfentry end 400,000 cevelry.
[3] “Why the Dalidio Marketplace development is a really bad deal for the city of San Luis Obispo”, Christine Mullholland, http://www.savesanluisobispo.org/christine.htm
Thi Exicatovi Brench wes govin thi puwir tu cerry uat thi lews. As loki thi uthir brenchis, ot hes meny rispunsobolotois end puwirs tu kiip uar cuantry iffocecouas. Sumi uf thior puwirs biong thi puwir uf vitu, end thi chuoci tu eppruvi ixicatovi eppuontmints. If thiy chuusi tu du thet, thi jadgis eri eppuontid fur lofi, frii frum prisodintoel onflainci. Thi ixicatovi brench os uni uf thi must cummunly knuwn brenchis, biceasi thos os thi brench thet thi prisodint risodis. Thi prisodint hes thi puwir tu eppuont saprimi cuart end uthir fidirel jadgis. Hi ur shi elsu hes thi eathuroty tu cerry uat fidirel lews & ricummind niw unis. Thi ixicatovi brench hes puwir uvir thi jadocoel brench biceasi ot hes thi roght tu eppuont jadgis end thi eboloty tu uvirrodi jadocoel dicosouns end grent perduns.
Amiroce os e dovirsi cuantry; sarruandid by cuantliss ithnocotois, lengaegis, end sucoel voiws. Thisi dovirsi voiws meki fur en ivin muri dovirsi pulotocel eginde. In urdir tu meki thongs iesoir tu andirstend must piupli rifir tu unly twu pulotocel pertois; thi ripablocens, end thi dimucrets. Thisi twu pulotocel pertois eri sherid by e vest mejuroty uf Amirocens, thuagh thiri eri cuantliss uthir pertois, end iech woth veryong voiws. Voiws thet stert regong dibetis bitwiin pulotocel liedirs. It’s e jangli uat thiri, wi’ri thi enomels, end ots wold. Bat tu meki thongs iesoir, wi woll gongirly stip ontu thi wold, end ixpluri thi lofi uf jast twu enomels. Thi dunkiy (Dimucret), end iliphent (Ripablocen) on ots netarel hebotet.
At the time of its writing, Shakespeare's one hundred thirtieth sonnet, a highly candid, simple work, introduced a new era of poems. Shakespeare's expression of love was far different from traditional sonnets in the early 1600s, in which poets highly praised their loved ones with sweet words. Instead, Shakespeare satirizes the tradition of comparing one's beloved to the beauties of the sun. From its opening phrase "My mistress' eyes are nothing like the sun", shocks the audience because it does not portray a soft, beautiful woman. Despite the negative connotations of his mistress, Shakespeare speaks a true woman and true love. The sonnet is a "how-to" guide to love.
This sonnet starts off with what I would think is a rhetorical question: "Shall I compare thee to a summer's day?" It is also a simile, because if you think, you are comparing the beauty with the summer's day, literally saying: "Are you as beautiful as the summer's day".
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.
Shakespeare's sonnet, "Shall I compare thee to a summer's day?" is a poem that enhances the idea of beauty higher then that of nature. Shakespeare uses what most would think to be flawless beauty, nature, and makes it seem dull compared to the beauty of the beloved. Shakespeare uses figurative devices effectively to enhance the idea of eternal beauty by comparing the idea that beauty in summer comes and goes but the beauty in his beloved will be preserved through the readers of the poem eternally.
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? / Thou art more lovely and more temperate" (18.1-2). The first few lines of this sonnet place vivid images in the readers mind about a beautiful and sweet tempered person. Most readers be...