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Similarities of sonnets
How do sonnets share similarities and differences
Similarities of sonnets
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The Sidney’s and Their Love Stories
There is an obvious connection between the sonnet sequence of Lady Mary Worth’s Pamphilia to Amphilanthus and Sir Philip Sidney’s Astrophil and Stella. Not only are these sonnets sequence are similar because they are about two lovers, but there are also many sonnets from both sequences that can be related in context, rhyme and emotions. In particular sonnet seven in Pamphilia to Amphilanthus and sonnet fifty-three in Astrophil and Stella are relatable in several aspects. First of all, both of these sonnets share that they are considered a Petrarchan story. Furthermore both of these sonnets have in common the fact that in both poems Cupid ridicules the speakers, another aspect that they share is the rhyme scheme and the meter.
Both Astrophil and Stella and Pamphilia to Amphilanthus are considered a Petrarchan. Meaning that both, Sidney and Worth are writing about an unstoppable and incontrollable love for a particular person. Even though in Sidney’s case it is for a woman and in Pamphilia it is for a man, they both talk about an endless love story.
As the audience reads Pamphilia to Amphilanthus they will be able to notice a constant call to Cupid in several sonnets, where either Pamphilia is blaming him for her love for Amphilanthus or she is praising Cupid for making her love him. This same theme can be seen in Astrophil and Stella where Astrophil is always calling upon Cupid’s name, in order to justify his ridiculous obsession for Stella or cursing at him for making him fall in love with her. In sonnet 53 from Astrophil and Stella we experience a strong representation of Astrophil’s frustration and sense of hopeless when it comes to loving Stella. In this sonnet he is in a battle and Cupid d...
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... line to make the sonnet have flow and rhythm.
In conclusion, Lady Mary Worth’s Pamphilia to Amphilanthus and Sir Philip Sidney’s Astrophil and Stella are very similar in many parts of their sonnet sequence and many of their sonnets can be related. In particular sonnet seven from Pamphilia to Amphilanthus and sonnet fifty-three from Astrophil and Stella both illuminate each other in different things. For one thing they are both controlled and ridiculed by Cupid, they also share that their composition is an iambic pentameter and that both stories are considered a Petrarchan. Even though some differences can also be highlighted, they have more to allude to each other than to differ.
Works Cited
Lady Mary Worth, , and Josephine Roberts A. The Poem of Lady Mary Worth.Paperback 1992.
Baton Rouge: Lousiana State University Press, 1983. 90. Print
In Sir Philip Sidney’s sonnet, ‘Thou Blind Man’s Mark,’ he has a philosophy of desire that one might find to be filled with complexities. To convey this complex philosophy, Sidney employs a variety of poetic devices such as apostrophe, personification, metaphors, anaphora, and a paradox.
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Mary Wroth was an English poet during the Renaissance. She was the first woman to write and publish an original prose writing and sonnet sequence. Her major works included The Countess of Montgomery’s Urania and Pamphilia to Amphilanthus. Urania is composed of prose writing, English sonnets, and songs. Urania also included Pamphilia to Amphilanthus; however, Pamphilia to Amphilanthus was later published separately. The four sectioned sonnet sequence described Pamphilia’s feelings toward her unfaithful lover, Amphilanthus, and her actions to seek his forgiveness (“Mary Wroth”). The two collections illustrated many important events and ideas Wroth had in her life. The works of Mary Wroth were influenced
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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 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).
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.
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.
Renaissance poets Sidney and Spenser convey their messages with the help of the literary element symbolism. In “Sonnet 75” and “Astrophel and Stella” there is the presence of symbolism. This element is a cornerstone to these poems and helps the reader think deeper beyond the literal meanings of words, and how they represent something greater. The use of symbolism also makes the readers mind think about how the sentences state something literally, but also have a deeper meaning. If this element were not to be used, then the poems would lose some of their charisma because most sonnets have a deeper meaning to be conveyed with the use help of symbolism.
Therefore, because William Shakespeare’s “Sonnet 18” and Edmund Spenser’s “Sonnet 75” share the idea that love is sincere and eternal, they can be looked upon as similar in theme. However, although similar in theme, Shakespeare’s intent is portraying the true everlasting beauty of his love, which is already achieved, whereas Spenser concentrates more on trying to entice his desired love, remaining optimistic throughout the entire poem.
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.