Shakespeare’s Sonnet 15 explores the possibility of preserving a man through verse, employing a gardening metaphor to explain the process of doing so. Throughout the sonnet, men are likened to plants in their manner of growing, exhibiting beauty, as well as by their impermanence. The comparison between men and plants culminates in the final line of the poem in which the speaker promises to “ingraft [the man] new” (14), presumably through verse. “Ingrafting” in this instance suggests both the act of writing as well as a horticultural process practiced by cultivators of plants. Because writing and the grafting of plants ultimately produce strikingly different results, the poet introduces a dichotomous conception of what exactly he intends for the subject of his sonnet. As a gardener to his plants, the poet may mean to “ingraft” the man with the sonnet such that he is infused with new life and thus “blooms,” or returns to a state of heightened beauty. Alternatively the poet “ingrafts” by writing about or “engraving” the man into verse, thus crafting a permanent and unchanging representation of his much admired graces. The practices of the gardener who causes flowers to bloom and plants to produce fruit may appear to produce an object of greater vitality than those of the poet who “ingrafts” by setting words upon a page. However, if the poet strives for similar results in his craft as the gardener, it is possible that with verse, the subject of poem may be given new energy and life, much like a plant that has been grafted. The final image of Sonnet 15 taken in conjunction with lines from Balthdassar Castiglione’s The Book of the Courtier perhaps suggests that by the writer’s process of creating eternal and apparently lifeless represe...
... middle of paper ...
...the reader. Grafting, as a horticultural process is associated with writing only in word origin and symbolism, but the poet, who has control over his art, affixes new meaning to the term and employs it to participate in his extended plant metaphor.
Works Cited
Castiglione, Balthdassar. The Book of the Courtier. 1528. 58.
“graff” v.
“graff” n.
“graft” n.
“grave” v.
“engrave” v.
“sap” n.
Shakespeare, William. “Sonnet 15.” The Longman Anthology of British Literature. Vol.
1b. Ed. David Damrosch and Kevin J. H. Dettmar. 4th ed. New York: Longman, 2010. 1204.
“stock” n.
In this sonnet, Neruda describes a romantic and enchanting afternoon with his lover as they float through elegant gardens under the clear sky. The author effectively translates this imagery by the uses of literary devices such as personification and implied metaphors. For example, in line 2 of the poem Neruda writes, “The light arrived and opened like a rose garden”. The use the words “arrived” and “opened” in respect to the light, give it human qualities in which inanimate objects cannot possess, which is also known as personification. This allows for the reader to obtain a more meticulously detailed picture of
In fact, the contrasting strategies of Sonnet 29 and extreme claims made in Sonnet 116 combine in a intellectual manner throughout Sonnet 130. The speaker of this sonnet incorporates numerous ironic contrasts with his love’s beauty and a few unattainable measures (SHAKESPEARE’S SONNETS). Unlike in previous sonnet the author does not directly state the true beauty of his love, however he expresses what she is
"Poetry is the revelation of a feeling that the poet believes to be interior and personal [but] which the reader recognizes as his own." (Salvatore Quasimodo). There is something about the human spirit that causes us to rejoice in shared experience. We can connect on a deep level with our fellow man when we believe that somehow someone else understands us as they relate their own joys and hardships; and perhaps nowhere better is this relationship expressed than in that of the poet and his reader. For the current assignment I had the privilege (and challenge) of writing an imitation of William Shakespeare’s "Sonnet 87". This poem touched a place in my heart because I have actually given this sonnet to someone before as it then communicated my thoughts and feelings far better than I could. For this reason, Sonnet 87 was an easy choice for this project, although not quite so easy an undertaking as I endeavored to match Shakespeare’s structure and bring out his themes through similar word choice.
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 with 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 poems venture through different techniques to appear individually different from the classic sonnet, the theme of love makes the poems analogous.
Elizabeth Barrett Browning 's "Sonnet XLIII" speaks of her love for her husband, Richard Browning, with rich and deeply insightful comparisons to many different intangible forms. These forms—from the soul to the afterlife—intensify the extent of her love, and because of this, upon first reading the sonnet, it is easy to be impressed and utterly overwhelmed by the descriptors of her love. However, when looking past this first reading, the sonnet is in fact quite ungraspable for readers, such as myself, who have not experienced what Browning has for her husband. As a result, the visual imagery, although descriptive, is difficult to visualize, because
“Sonnet Eighteen” was one of the first of the Sonnets to become very well known. It “sets a fearful problem in turning it into prose”, because it is so straight forward and easy to comprehend (Rowse 39). Throughout this poem, the reader will acknowledge that Shakespeare “finds the human beauty “more lovely” and more lasting than nature’s” (Kastan 10). In the Sonnet, Shakespeare is comparing a woman to a summer’s day. He uses imagery to differentiate the harshness of summer and beauty of the woman. The audience can see the speaker’s perspective of youth and beauty throughout the lines in the
“Sonnet 73,” published by William Shakespeare in 1609, reveals through symbolic imagery and metaphors mans promised fate, death. The theme of “Sonnet 73” is that, as life draws to an end, it becomes more valued. In a melancholy mood, the narrator concedes that many years have passed by and that the end of his life draws ever near. He reflects through imagery, and with a sense of self-pity, the loss of his youth and passion to the ravages of time. In this essay I will detail the use of symbolic imagery and metaphors in “Sonnet 73” and how it portrays the author’s experience of aging.
William Shakespeare's sonnet cycle is famous with its rich metaphorical style. The depth of each sonnet comes from its multilayered meanings and images, which are reinforced by its structure, sound, and rhythm. Sonnet #73 provides an excellent example. This sonnet shows the speaker's agony over human mortality and, moreover, his/her way of coping with it in an effective way. The speaker, especially in terms of his cognizance of time, experiences dramatic changes in two ways: (1) from time measured by quantity to time as quality, (2) from cyclical time to a linear one. These changes, manifested by a set of images (autumn, twilight, glowing), enable him/her to embrace his/her mortality as an essential element of a human being. This double structure of the sonnet achieves its richness by its sub-level imagery based on eroticism, which has been one of the most common cures for the inevitability of one's own death throughout human history.
In “Written at the close of Spring,” Smith’s second sonnet, she focuses on the wonderful ability nature has in rejuvenating itself each year. Smith personifies Spring in the way it “nurs’d in dew” its flowers as though it was nursing its own children (“Close of Spring” 2). While it creates life, Spring is not human, because it has this ability to come back after its season has passed. Human beings grow old and die; we lose our “fairy colours” through the abrasive nature of life (“Close of Spring” 12). Smith is mournful that humans cannot be like the flowers of Spring and regain the colors of our lives after each year.
This poem is all about Shakespeare writing about his beloved. There is controversy as to whether Shakespeare is addressing this poem to a man or woman - male romances were quite common during the Elizabethan Era.
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.
You can finish that sentence in your head can’t you? Whether you are a strong poetry enthusiast or not, you still probably know this famous poem. Sonnet 18 by William Shakespeare is one of the most well-known poems of all time. Time and time again this piece of art has influenced contemporary pieces. Some examples of this would be; the song “Sonnet 18” by Pink Floyd, a novel titled The Darling Buds of May by H E Bates, and a famous essay “Rough Winds Do Shake” written by Maeve Landman. Now this doesn’t not include the endless, countless list of times when Sonnet 18 has been quoted throughout history, especially in today’s media such as Star Trek, Doctor Who, and many others. It is doubtless to say that Sonnet 18 by william shakespeare is one of the most famous and well-known poems, and for good reason. This poem truly is a beautiful piece of work. William Shakespeare utilizes many things to help enhance the reading experience. Sonnet 18 by William Shakespeare draws the reader in through the use of several poetic techniques including rhyme and rhythm, personification, and metaphor.
Shakespeare's sonnets are a romantic and charming series of poems. His use of rhyme and passionate, eloquent language serve to illuminate his strong feelings. These techniques were probably the most fluent way for such a writer as him to express the immeasurable love that he obviously felt for his mysterious lady. Examining the numerous ways Shakespeare found to describe it, the reader believes that this love was undoubtedly lasting and authentic. He often made heart-felt comments about his emotions that could also suit lovers in the present day. Because of this, and the fact that people read them yet, Shakespeare's sonnets are timeless and universal, just like the concept of love itself.
During the Renaissance period, most poets were writing love poems about their lovers/mistresses. The poets of this time often compared love to high, unrealistic, and unattainable beauty. Shakespeare, in his sonnet 18, continues the tradition of his time by comparing the speakers' love/mistress to the summer time of the year. It is during this time of the year that the flowers and the nature that surround them are at there peak for beauty. The theme of the poem is to show the speakers true interpretation of beauty. Beauties worst enemy is time and although beauty might fade it can still live on through a person's memory or words of a poem. The speaker realizes that beauty, like the subject of the poem, will remain perfect not in the eyes of the beholder but the eyes of those who read the poem. The idea of beauty living through the words of a poem is tactfully reinforced throughout the poem using linking devices such as similes and metaphors.
In Shakespeare’s sonnet 130, the speaker ponders the beauty, or the lack thereof, of his lover. Throughout the sonnet, the speaker presents his lover as an unattractive mistress with displeasing features, but in fact, the speaker is ridiculing, through the use of vivid imagery, the conventions of love poems and the way woman are portrayed through the use of false comparisons. In the end, the speaker argues that his mistress may not be perfect, but in his eyes, her beauty is equal to any woman who is abundantly admired and put through the untrue comparison.