Essay about Analysis Of ' My Mistress ' Eyes '

Essay about Analysis Of ' My Mistress ' Eyes '

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From the start Sonnet 130 or as we like to call it “My Mistress’ Eyes,” is a somewhat gruesome tribute to Shakespeare’s mistress. She 's clearly the main character of the poem. Every single line refers to her, whether describing her appearance or her smell or even just the way she walks. As the audience we get to learn a few things about her, like the color of her hair and her skin. Overall, though, she 's a little more like an idea or figment of Shakespeare’s imagination, than a real person. Instead of being a fully drawn character like Hamlet or Juliet other characters of his, she is mostly here to give the poet, Shakespeare, a chance to poke fun at exaggerated love poetry. We hear lots about her, but for the most part, the information is rather vague, yet extremely negative. Since all the images and symbols in this poem concern her in one way or another, we 're going to put the different parts of her, and the poem under a sort of microscope, just like Shakespeare does.
We can start by looking at her eyes. Eyes are something we focus on in other people, they are the first thing many people notice about another person when speaking with them. It 's no surprise that they are always being brought up in love poetry. For example, in line 1 he basically refuses to compare his mistress’ eyes to the sun. He picks out this way out-there, exaggerated simile to show just how silly this kind of comparison can be. So in reality, this is a negative simile.
Another piece Shakespeare analyzes is her lips. They, too, seem to be among the standard list of things you 're supposed to notice in a beautiful woman. When you meet someone lips are another feature that you sometimes notice because they can either be amazing or horrifying. For example...

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...oes out of his way to say that he loves the sound of her voice. He just thinks that comparing her voice to music is going too far.
Of course this perfect woman that Shakespeare is taking apart would have to be as graceful as an angel too. Throughout the poem he 's been setting up two portraits, side by side. One is of an ideal fantasy woman that he can 't begin to believe in, and the other is of the real, imperfect woman he loves. In these last lines the speaker chooses the real woman over the goddess that he has never even seen. In line 11 the audience gets a chance to kind of nerd out about the fantastic alliteration. Check out the way those three "g" words: "grant…goddess…go" make the line float along as gracefully as a goddess. Plus, comparing a normal woman to a goddess is a complete exaggeration and that 's exactly what this poem is trying to get us away from.

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