Introduction:
The year 1609 has been an important year in the history of English literature, though historically it considers being a year of no great consequence in the World. English literature marked the year with great importance as “Shakespeare’s Sonnet” was first published on that year. Poetry lovers, therefore, consider the year for the inception of an incomparable series of poems that has no equal in world literature. For the last five hundred years or more the sonnet sequence remains as one of the mostly talked and debated sonnets in the Western literature. Shakespeare’s 154 sonnets tell the story, first, of his adulation of a young man and, later, of his adoration of his “dark lady”.
Although Shakespeare’s sonnets can be divided into different sections in various ways, the most popular and apparent division involves Sonnets 1-126, in which the poet strikes up a relationship with a young man, and Sonnets 127-154, which are concerned with the poet’s relationship with a woman, many times referred to as the Dark Lady, or as his mistress. The shorter grouping of Sonnets 127-154 involves the poet’s sexual relationship with the Dark Lady, a married woman with whom he becomes infatuated. Similar to his friendship with the young man, this relationship fluctuates between feelings of love, hate, jealousy, and contempt. Also similar is the poet’s unhealthy dependency on the woman’s affections. When, after the poet and the woman begin their affair, she accepts additional lovers, at first the poet is outraged. However, as he did with the youth, the poet ultimately blames himself for the Dark Lady’s abandoning him. The sonnets end with the poet admitting that he is a slave to his passion for the woman and can do nothing to curb his l...
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...tly repeats a pattern. He is well aware of Petrarchan sonnet conventions. Shakespeare does not present loved one as virtuous or courtly, and also does not show love for a beautiful lady as represented in Petrarch’s sonnets. The cruel loved one in maximum of his sonnet is a young man, not a woman, and the ‘Dark Lady’ of sonnets 127-154 is neither virtuous nor ideally beautiful. Shakespeare even criticizes the traditional notion of a beautiful and virtuous lady.
“In the old age black was not counted fair
Or, if it were, it bore not beauty’s name;” (Sonnet 127)
English sonnets have the same fourteen lines obligation like Italian form, which are written in iambic pentameter with a set rhyme scheme of abab cdcd efef gg. The English sonnet form also known as Shakespearean sonnet form and another popular English poet Spenser wrote sonnets in abab bcbc cdcd ee rhyme scheme.
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.
To understand these two sonnets completely, one must first have a little background information concerning the sequence of the Sonnets and William Shakespeare's life. Shakespeare's series of Sonnets can be divided, "into two sections, the first (numbers 1-126) being written to or about a young man, and most of those in the second (numbers 127-154) being written to or about a dark woman" (Wilson 17-8). Because of the autobiographical nature of Shakespeare's Sonnets, these two characters are people from Shakespeare's actual life. The young man is Shakespeare's patron and Shakespeare has a "humble and selfless adoration [that] he feels for his young friend" (Wilson 32). The dark woman is Shakespeare's lover, a woman that infatuates him. These two people provide an emotional contrast for each other and Shakespeare's views on love. When these two meet, they have an affair, "behavior that, as the Poet [Shakespeare] is really deeply in love with the woman, causes him such distress, at times agony, as to introduce a note of tragedy into the series [of sonnets], . . ." (Wilson 33). The affair between the young man and the dark woman is the catalyst for Shakespeare's au...
Compare William Shakespeare’s Sonnets 12 and 73 William Shakespeare (1564-1616) wrote a group of 154 sonnets between 1592 and 1597, which were compiled and published under the title 'Shakespeare's Sonnets' in 1609. The 154 poems are divided into two groups, a larger set, consisting of sonnets 1-126 which are addressed by the poet to a dear young man, the smaller group of sonnets 127-154 address another persona, a 'dark lady'. The larger set of sonnets display a deliberate sequence, a sonnet cycle akin to that used a decade earlier by the English poet Phillip Sidney (1554-1586) in 'Astrophel and Stella'. The themes of love and infidelity are dominant in both sets of poems, in the larger grouping; these themes are interwoven with symbols of beauty, immortality, and the ravages of time. Lyrical speculations of poetry's power to maintain bonds of love and to revere the beloved can also be found in the larger collection of sonnets.
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.
All Shakespearean sonnets have the same poetic structure. They consist of fourteen lines divided into three quatrains and a couplet. They also all contain the same rhyme scheme, which is: abab cdcd efef gg. Punctuation is also an
Much has been made (by those who have chosen to notice) of the fact that in Shakespeare's sonnets, the beloved is a young man. It is remarkable, from a historical point of view, and raises intriguing, though unanswerable, questions about the nature of Shakespeare's relationship to the young man who inspired these sonnets. Given 16th-Century England's censorious attitudes towards homosexuality, it might seem surprising that Will's beloved is male. However, in terms of the conventions of the poetry of idealized, courtly love, it makes surprisingly little difference whether Will's beloved is male or female; to put the matter more strongly, in some ways it makes more sense for the beloved to be male.
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...
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).
Spencer, Edmund. “Amoretti: Sonnet 37”. The Norton Anthology of English Literature. Gen. ed. David Simpson. 8th ed. Vol. 1. New York: Norton, 2006. 904. Print.
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.
William Shakespeare's sonnets deal with two very distinct individuals: the blond young man and the mysterious dark-haired woman. The young man is the focus of the earlier numbered sonnets while the latter ones deal primarily with the dark-haired woman. The character of the young man and a seductive mistress are brought together under passionate circumstances in Shakespeare's "Sonnet 42." The sexual prowess of the mistress entangles both Shakespeare and the young man in her web of flesh. This triangular sonnet brings out Shakespeare's affection for both individuals. His narcissistic ideal of delusional love for the young man is shown through diction and imagery, metrical variation and voice, contained in three quatrains and one couplet.
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?
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