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Class work on essay writing
Shakespeare deeper meaning within his writings
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In sonnet “144,” by William Shakespeare, the speaker’s tone is fatalistic because, even though he knows his good angel is in danger, he accepts the fact his good angel will get hurt. In the very first line of the poem, the speaker identifies the two angels he is in a love triangle with: “Two loves I have of comfort and despair” (1). The speaker immediately gives the reader perspective because he identifies the good and bad of the poem, telling the reader what he will focus on. Soon after he describes his lovers as “a man right fair,” (3) and “a woman colour’d ill,” (4); Because the speaker says this, it shows the reader who he favors, and how he feels about his two lovers. The speaker shows what he cares about because of his description. As the second quatrain arrives, the speaker begins to discuss the relationship between his two lovers. He speaks of the evil angel, and what she does to the good one: “tempteth my better angel,” (6) and “corrupt my saint,” (7). The speaker shows some concern for the better angel because he makes it sound like the bad angel causes harm on him as well, but he shows no desire to save his saint. After the Volta, the speaker -once again- declares his love for the good angel.
Shakespeare's scathing attack upon the morality of his mistress exemplifies their tumultuous and perplexing relationship. The three quatrains outline the poet's inner struggle to cope with both his lover's infidelity and the embarrassing self-admission that he still desires her to gratify him sexually, even though she has been with other men. The poet yearns to understand why, in spite of the judgment of reason (5), he still is enslaved by her charms. Confused by his own inexplicable urges, the poet's whole being is at odds with his insatiable "sickly appetite" (4) for the dark lady. He deduces in the final quatrain that he surely must be insane, for he calls his mistress just and moral when she obviously is neither. Not until later sonnets (150-1) do we see a change of tone and a cool-headed acknowledgment of the recklessness of the whole affair. In Sonnet 151, the poet admits that he cannot continue the relationship because it betrays his "nobler part" (6) i.
Truth and honesty are key elements to a good, healthy relationship. However, in Shakespeare's Sonnet 138, the key to a healthy relationship between the speaker and the Dark Lady is keeping up the lies they have constructed for one another. Through wordplay Shakespeare creates different levels of meaning, in doing this, he shows the nature of truth and flattery in relationships.
Light/Dark. Comfort/Despair. Love/Hate. These three pairs of words manage to sum up William Shakespeare's "Sonnet 116" and "Sonnet 147," while also demonstrating the duality of Shakespeare's heart. "Sonnet 116" reveals to a careful reader the aspects of Shakespeare's concept of what ideal love is. However, "Sonnet 147" shows the danger of believing in this ideal form of love. These two sonnets perfectly complement and clarify each other while also giving the reader insight into William Shakespeare's life.
In sonnet 116, William shakespeare uses blunt imagery, an ironic analogy, matter of fact sarcasm, and reflective metaphors to portray a tone that shifts from informative to disappointed and shows that loves rare and unbreakable.
In the sonnet, "Thou Blind Man's Mark," Sir Philip Sydney uses a poetic form to express desires in his mind and how it affects him. The speaker begins by insulting how bad desires are, which shows…... This contempt is most readily optically discerned when he elaborates on poetic devices such as oxymoron, repetition, and diction to convey the speaker’s complex attitude.
Interesting hook: William Shakespeare’s Sonnet 138 depicts the relationship of a couple, who many believe to be Shakespeare and his mistress, a woman referred to as, The Black Lady. Throughout the sonnet, the vast use of imagery causes the reader to imagine the sonnet as if it were a play where the characters are covered by a mask of lies. Put a clever transition in here: Although Sonnet 138 depicts the speakers’ willingness to settle for false love and put on a mask, Sonnet 138 depicts a relationship that its very survival is based on this deceit. Sonnet 138 illustrates that through lies characters hide themselves, which illustrates the importance of being true to yourself and not giving into mediocrity, and deciding to put on a mask to be like everyone else, which compels an individual to put on a mask and be something they are not. Shakespeare uses the tool of paronomasia, more commonly known as puns, throughout the Sonnet 138 to demonstrate the idea of duplicity, and if one carefully analyses these puns then the truth that hides behind the mask will be understood.
In “Sonnet 138,” an elderly gentleman is in a relationship with a young woman. The woman thinks the man is young although she knows he is not. Connotation changes the plot of the sonnet. Connotation changes the plot because a person would think that the definition of a certain word would be what that person knows, but these words have hidden meaning. Shakespeare uses personification to show how the elderly man tries to correct his love.
In “Sonnet,” Billy Collins satirizes the classical sonnet’s volume to illustrate love in only “…fourteen lines…” (1). Collins’s poem subsists as a “Sonnet,” though there exists many differences in it countering the customarily conventional structure of a sonnet. Like Collins’s “Sonnet,” Shakespeare’s “Sonnet 130” also faces incongruities from the classic sonnet form as he satirizes the concept of ideal beauty that was largely a convention of writings and art during the Elizabethan era. Although these poem venture through different techniques to appear individually different from the classic sonnet, the theme of love makes the poems analogous.
When he writes "And yet, by heaven, I think my love as rare as any she, belied with false compare." (lines 13-14) in the final couplet, one responds with an enlightened appreciation, making them understand Shakespeare's message that true love consists of something deeper than physical beauty. Shakespeare expresses his ideas in a wonderful fashion. Not only does he express himself through direct interpretation of his sonnet, but also through the levels at which he styled and produced it. One cannot help but appreciate his message of true love over lust, along with his creative criticism of Petrarchan sonnets.
"Sonnet 138", is a notable example of Shakespeare's philosophy of love. Written as a dramatic monologue, this sonnet (also known as "song") is a lyric. Like all sonnets, there are fourteen lines, with every four lines written as quatrains in a b a b format. The last two lines are known as a couplet. This sonnet has a staggered structure, with a main clause, sub clause, and another sub claus, all forming a complex sentence. The first six lines mirror each other in thought.
Shakespearean sonnets appear to be arranged in three parts; the first third of the sonnets appear to be directing the recipient of the poems to reproduce to endure his legacy, the second third highlight the ability of the immortalizing abilities of the sonnets and with the latter third there is the appearance of a dark haired lady - possibly a tongue-and-cheek humor of the Petrarchan sonnet. Sonnet 147, as one of the latter third sonnets, appears to be directed to the dark haired lady; as a anti-love sonnet, sonnet 147 covers the progression of emotions dealing with the loss of a lover. Shakespeare laments on his woeful state and illustrates clearly, these progression of emotions through the use of rhetorical tools and through metaphorical means by designing the sonnet itself as a fever.
Like many of his sonnets, Shakespeare's Sonnet 130 takes a conventional, even clichéd, observation about love and gives it a fresh rhetorical presentation, thus gaining the double advantage of a universal context in which the poem can be understood, and the ability to preserve the individual voice. Key to the fresh presentation of this poem is the way it draws attention to the clichéd quality of the images it uses, using them for the purpose of contrast rather than assenting to them. “My Mistres eyes are nothing like the sunne,” the speaker declares. Devoting two quatrains to discussing her appearance (the first from a more distant perspective, the second focusing on the way her “cheekes” and “breath” appear from close up) and a third to the grace of her actions, the speaker follows his initial negative comparison with seven more. He is obliged to admit that his “Mistres” is neither white as snow nor has she cheeks like roses, nor can any of the idealizing similes of conventional love poetry apply properly to her.
In “Sonnet XVII,” the text begins by expressing the ways in which the narrator does not love, superficially. The narrator is captivated by his object of affection, and her inner beauty is of the upmost significance. The poem shows the narrator’s utter helplessness and vulnerability because it is characterized by raw emotions rather than logic. It then sculpts the image that the love created is so personal that the narrator is alone in his enchantment. Therefore, he is ultimately isolated because no one can fathom the love he is encountering. The narrator unveils his private thoughts, leaving him exposed and susceptible to ridicule and speculation. However, as the sonnet advances toward an end, it displays the true heartfelt description of love and finally shows how two people unite as one in an overwhelming intimacy.
Browning’s “Sonnet 14” exemplifies the theme of the dependency of love, through point of view. Browning uses first-person singular point of view to create an emotional connection between the speaker and the reader. However, “Sonnet 14” opens with “thou” which helps the reader connect to the speaker of the poem by directly addressing the reader (Biespiel 3521). The requirement that love must come from within made by the speaker, who is assumed to be a woman, are directed strictly towards the reader, an implied male. Browning harvests pity by addressing the reader directly as “thou.” The reader acknowledges that the speaker may not be receiving the love she needs to live. A critic affirms the necessity of love by his statement: “[Browning] wants the love to be lifted out of the realm of human passion into the realm of eternal heavenly passion” (Biespiel 3522). People live hoping to reach going to heaven by doing good deeds and living prosperously. Browning would like people to realize that by...
William Shakespeare was arguably the greatest poet of all time, let alone of the renaissance period, and he certainly knew how brilliantly clever he was. Shakespeare wrote many sonnets which ultimately were callous towards their subjects. In addition to them being callous he also expertly used the final couplet to make him seem like he was a great poet whose writing was sheer awesome in the truest sense of the term, or to brag on his abilities in any way. Many, many of his sonnets show evidence of this trait. One example of this is Sonnet 18. However, sonnets 130, 116, and 65 also show evidence of this, among others. Shakespeare manages to degrade his love, summer, love in general, his love again and even beauty, all the while praising himself