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Love in shakespeare sonnets
Petrarch's love sonnets books essays
Shakespeares view of love
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For most people, love is a building for that combines both the strengths and weaknesses of two people, helping them change and better themselves. However, in some cases, what people believe as love is simply desire and infatuation. Throughout the 1300’s, a poet named Petrarch wrote a series of love sonnets to his idealized lover, Laura. In his sonnets, Petrarch characterizes a type of love now known as either courtly love or Petrarchan love. This type of love relates closer to infatuation, as the people involve idealize the stereotypes of love rather than the actual character of the person they are pursuing. Additionally, Petrarchan lovers often idolize each other as gods, worshipping and comparing each other to holy or celestial objects. Many
In the opening lines of the play, Shakespeare introduces the reader to Orsino, with the famous lines: “If music be the food of love, play on; / Give me excess of it, that, surfeiting, / The appetite may sicken, and so die” (The Twelfth Night 1.1.1-3). Unlike many of Shakespeare’s lovesick characters, Orsino begins speaking about love as a concept, rather than the object of his love. For example, when the reader first meets Romeo in Romeo and Juliet, he laments his unrequited feelings for Rosalind. Instead, Shakespeare chooses for Orsino to focus on loving the feeling of being in love. However, love needs a face to feel validated, and “Orsino requires an external stimulant… to animate his experience of himself as one who is loved…and it is the Countess Olivia who is the woman most suitable to feeding this need.” (Gross 206). Orsino is obsessed with the idea of love, the courtly atmosphere, and of course, himself. As such, he decorates his court in dim lighting, lounges around without performing duties of the state, and melancholily waits for Olivia to love him
In Twelfth Night, by William Shakespeare, gender identity and alternative sexualities are highlighted through the depiction of different characters and personalities. In the play, Viola disguises herself as a man thereby raising a merry-go-around of relationships that are actually based on a lie rather than actual fact. Viola attracts the attention of Olivia since she thinks that Viola is a man but even more fascinating is the fact that Orsino is attracted to Viola although he thinks that she is a man. In another twist Viola is attracted to Orsino and has fell in love with him although their love cannot exist since Orsino thinks that Viola is a man.
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.
Although Viola might be able to relate to Olivia's grief at first, her love for Orsino is so great that she cannot understand why Olivia would deny him. When Olivia expresses affectio...
Naturally, one of the most reoccurring themes in Shakespeare is romantic love. It is perhaps not a coincidence that he put so much emphasis on this elusive and enigmatic emotion. In the Elizabethan age when he was writing, the arts were being explored more fervently, and thus raw human emotions began to surface in the mainstream culture. In Twelfth Night, love is a confusing and fickle thing, as demonstrated in the relationships between Duke Orsino and Olivia; Olivia and Viola/Curio; Malvolio and Olivia (she certainly has an effect on men doesn't she?); Duke Orsino and Viola/Curio. However, the characters seem to have a love-hate relationship with Cupid. Within the first line of the play, it is glorified: "If music be the food of love, play on..." (Duke Orsino, I:I). And while Olivia is annoyed with Orsino's affection, she craves Curio's.
...h the idea of being in love and enjoys making a spectacle of himself. His attraction to the ostensibly male Cesario injects sexual ambiguity into his character, and reveals that genuine love does exist within his character because he allows himself for that brief scene to be exposed and vulnerable. Olivia, like Orsino likes to wallow I her own misery, and also acts absurdly by falling for Cesario within a matter of a few moments of dialogue. Olivia seems to have no difficulty transporting her affections from one love interest to the next, however, suggesting that her romantic feelings, like most emotions in the play, are not profound. In all, Shakespeare used Twelfth Night to reveal that love can be found in unlikely places; in order for love to be a genuine act it must be a selfless; and love undoubtedly requires patience and endurance through times of absurdity,.
As prescient and insightful as this evaluation may seem after considering the outcome of Twelfth Night’s romantic pairings, it reads as a very shallow perspective rather than any sort of wisdom – to the Duke, love is never permanent, lasting, or constant (just like the nature of the tides, it always changes). Duke Orsino has no concern whatsoever for Olivia’s feelings of grief after the loss of her brother – she is merely an object of his desires at the moment, and as his eventual courtship with Viola proves, he is extremely fickle in his affections. (Even before Viola’s disguise became apparent, Orsino showed some signs of attraction to the male Cesario – this raises a few questions about exactly how far his romantic indecisiveness
Viola, as Cesario, manages to win the favour of Orsino He truly believes that she is a he. Orsino, still convinced of my majesty, believes that he can win the love of a woman, via a proxy. By having Viola merely read the words he has prepared, he thinks that Olivia will fall immediately in love with him. But while Orsino had his head in the clouds about his love, Viola is attempting to conceal from him, her love for him.
William Shakespeare (1564-1616) was a Renaissance poet and playwright who wrote and published the original versions of 38 plays, 154 sonnets, two long narrative poems, and several other poems. He is widely regarded as the greatest writer in the English language, and often called England’s national poet. Several of his works became extremely well known, thoroughly studied, and enjoyed all over the world. One of Shakespeare’s most prominent plays is titled The Tragedy of Romeo and Juliet. In this tragedy, the concept that is discussed and portrayed through the characters is love, as they are recognized as being “in love”. The general umbrella of love encompasses various kinds of love such as romantic love, the love of a parent for a child, love of one’s country, and several others. What is common to all love is this: Your own well-being is tied up with that of someone (or something) you love… When love is not present, changes in other people’s well being do not, in general, change your own… Being ‘in love’ infatuation is an intense state that displays similar features: … and finding everyone charming and nice, and thinking they all must sense one’s happiness. At first glance it seems as though Shakespeare advocates the hasty, hormone-driven passion portrayed by the protagonists, Romeo and Juliet; however, when viewed from a more modern, North-American perspective, it seems as though Shakespeare was not in fact endorsing it, but mocking the public’s superficial perception of love. Shakespeare’s criticism of the teens’ young and hasty love is portrayed in various instances of the play, including Romeo’s shallow, flip-flop love for Rosaline then Juliet, and his fights with Juliet’s family. Also, the conseque...
It is no surprise that societal norms have changed quite a bit since Shakespeare’s time. Of course there are changes that we can physically see, but there are also changes that are not as obvious. They subtly slip their way into our societies unnoticed, that is until we take a moment to step back and study the evolution of our society since the 17th century.
Because of this confusing love triangle, some of the characters seem to view love as a curse. They also claim to suffer painfully from being in love or from the “pangs” of unrequited love. In Act 1 scene 5, Olivia describes love as a “plague” from which she suffers terribly. In Act 1 scene 1, Orsino depicts love dolefully as an “appetite” that he wants to satisfy and cannot. Another example of the characters not “liking” love is in Act 2 scene 2 when Viola says “My state is desperate for my master’s love.” This quote relates to the violence in Act 5 scene 1 when Orsino threatens to kill Cesario because he thin...
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.
In Twelfth Night the relationships are anything but romantic. Shakespeare writes from the male point of view which implies an un-easy split between love and physical charm. In Twelfth night the romance is falsely produced by selfish desire. Duke Orsino and Viola stand out from the other relationships. By questioning the relationships between the other couples, Shakespeare highlights the true love between Viola and Orsino and the fake relationship of Malvolio and Olivia which is truly based on Malvolio’s desire of a higher status , despite his status and his personality , Malvolio tries to impress Olivia by dressing up in ridiculous clothes , which does far from his aim , and repulses Olivia.
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.
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.
The opening soliloquy of Act I Scene I, given by Duke Orsino, is another perfect example of Shakespeare using music to show the upcoming storyline of the play. At first, Orsino is using music as a metaphor that feeds the appetite of love. He speaks for a minute about his love for the music playing, and then changes abruptly by saying, “Enough; no more” (7). Already Shakespeare is foreshadowing Orsino’s fickleness when it comes to music which in turn stands for love. Of course, further into the play, it is shown that Orsino truly is fickle when it comes to love. As soon as he finds out that Cesario is in fact the woman Viola, he instantly forgets all the passion he had for Olivia and marries Viola.