Analysis of Sonnet 118
Like as, to make our appetites more keen,
With eager compounds we our palate urge;
As to prevent our maladies unseen
We sicken to shun sickness when we purge:
Even so, being full of your ne'er cloying sweetness,
To bitter sauces did I frame my feeding;
And, sick of welfare, found a kind of meetness
To be diseas'd ere that there was true needing.j
Thus policy in love, to anticipate
The ills that were not, grew to faults assur'd,
And brought to medicine a healthful state
Which, rank of goodness, would by ill be cur'd:
But thence I learn, and find the lesson true,
Drugs poison him that so fell sick of you.
This is another sonnet that Hieatt found to share certain similarities with Spencer's _Ruines of Rome: "In Sonnets 118 the conceit of health 'rank in goodness' anticipating and thus precipitatin sickness mirrors, first, Ruines 10--the 'rank seed' who destroy themselves--and, second, Ruines23--the Roman people 'impatient of pleasure's faint desires,' becoming the matter of their own fimes, 'as in a vicious body gross disease / Soon grows through humor's superfluity'."
Having a possible source for this sonnet, we will now move to a paraphrasing of the sonnet. 1-2: 'In order to make our appetites more aware (of taste), we convince our palate by ingesting stimulating dishes'; 3-4: 'In order to prevent unforeseen sickness, we purge ourselves [Ingram/jRedpath note, "The old-fashioned purges were very powerful, and could indeed make people feel extremely ill"], to make that sickness feign, yet become sick by doing so'; 5-6: 'As this is, I apportioned my diet to unsavory dishes [base company] from being (so) full of your substantial sweetness'; 7-8: 'And, overindulged in happiness, I found a [requisite] jusxtaposition of becoming diseased (from the purging) because I was in need of, 1) the sickness, or 2) your love [or both]'; 9-10: 'Thus, it is a sly [almost overly-sly] strategy in love, to anticipate the malefactors that are not always thought of, which grow into affirmed faults'; 11-12: 'And make a "healthful state" of me available to medicine which, gross [almost with a sense of glutton] with goodness, would be cured by the malefactors:' 13-14: 'But from this I learn, and find the lesson [moral] true, that the drugs that poisoned him [identity unknown; possibly in general] are the same ones that made me fall (love) sick for you'.
The Telecommunications Act of 1996 can be termed as a major overhaul of the communications law in the past sixty-two years. The main aim of this Act is to enable any communications firm to enter the market and compete against one another based on fair and just practices (“The Telecommunications Act 1996,” The Federal Communications Commission). This Act has the potential to radically change the lives of the people in a number of different ways. For instance it has affected the telephone services both local and long distance, cable programming and other video services, broadcast services and services provided to schools. The Federal Communications Commission has actively endorsed this Act and has worked towards the enforcement and implementation of the various clauses listed in the document. The Act was basically brought into existence in order to promote competition and reduce regulation so that lower prices and higher quality services for the Americans consumers may be secured.
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.
AT&T had developed a reputation for providing high-quality long distance telephone services. It moved rapidly to exploit this reputation in the newly competitive long distance market by aggressively marketing its services against MCI, Sprint, and other carriers. Also, AT&T had traditional strengths in research and development with its Bell Labs subsidiary. To exploit these strengths in its new global competitive context, AT&T shifted Bell Labs' mission from basic research to applied research, and then leveraged those skills by forming numerous joint ventures, acquiring NCR, and other actions. Through this process, AT&T has been able to use some of its historically important capabilities to try to position itself as a major actor in the global telecommunications and computing industry.
The sonnet opens with a seemingly joyous and innocent tribute to the young friend who is vital to the poet's emotional well being. However, the poet quickly establishes the negative aspect of his dependence on his beloved, and the complimentary metaphor that the friend is food for his soul decays into ugly imagery of the poet alternating between starving and gorging himself on that food. The poet is disgusted and frightened by his dependence on the young friend. He is consumed by guilt over his passion. Words with implicit sexual meanings permeate the sonnet -- "enjoyer", "treasure", "pursuing", "possessing", "had" -- as do allusions to five of the seven "deadly" sins -- avarice (4), gluttony (9, 14), pride (5), lust (12), and envy (6).
...e speaker admits she is worried and confused when she says, “The sonnet is the story of a woman’s struggle to make choices regarding love.” (14) Her mind is disturbed from the trials of love.
Telecommunications gained mainstream attention in the early 90’s; however the initial key market was business men and women, who used their phones whilst being on the move and so allowing them to communicate with their companies with ease. Though in the modern era, telecommunication went through segmentation in the market trends, and now in this day and age it would be difficult to find someone who does not own some form of mobile technology. Many phone providers battle to provide the best service for their customers (Figure 1).
A sonnet is a lyric poem of fourteen lines, following one of several set of rhyme-schemes. Critics of the sonnet have recognized varying classifications, but the two characteristic sonnet types are the Italian type (Petrarchan) and the English type (Shakespearean). Shakespeare is still nowadays seen as in idol in English literature. No one can read one of his works and be left indifferent. His way of writing is truly fascinating. His sonnets, which are his most popular work, reflect several strong themes. Several arguments attempt to find the full content of those themes.
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.
William Shakespeare’s “Sonnet 130”, was published in the mid-1590, and published with the rest of Shakespeare’s sonnets in 1609. The sonnet has fourteen lines, and divided into three quatrains and one couplet at the end. The rhyme scheme is cross rhyme, with the last two lines being couplets that rhyme. The sonnet compares between nature and the poets’ lover or mistress. He shows a more realistic view of his lover. Needless to say his significant other wasn’t physically attractive, yet he loved her inside beauty. Today we may use the term, “It’s not all about looks, but what’s inside”.
This sonnet appears to be another version of 153 rather than one of a series. These two sonnets, two renderings of the same ides, could either prove or disprove Shakespeare's authorship. Only twice did Shakespeare rewrite any of his sonnets, both 138 and 144 appear slightly modified in _The Passionate Pilgrim_. These are evidence of Shakespeare's rewritings, but the only problem is if one is out to prove the authorship on these grounds, over-revision remains a factor; that is, Shakespeare rewrote the two sonnets changing only a few words and not the entire sonnet. These seem to be the problems with citing Shakespeaare as their author, but equally disproving him as the author. If I were to argue for Shakespeare's authorship, I would correlate "the help of bath" with being an allusion to "The Wife of Bath's Tale" in Chaucer's _Canterbury Tales_. Shakespeare used Chaucer as a source in _A Midsummer Night's Dream_ (from "The Kinght's Tale" and "The Miller's Tale"), _Troilus and Cressida_ (from _Troilus and Criseyde) and _The Two Noble Kinsmen_ (from "The Knight's Tale"). Seeing that Shakespeare used Chaucer as a reference in the past for help, I suppose "the help of bath" could be a tribut to Chaucer and thus a possible source or allusion. But this does remain on unsubstantial grounds due to the possibility of it simply meaning a water-filled basin.
William Shakespeare was an excellent writer, who throughout his life created well written pieces of literatures which are valued and learned about in modern times. One of his many works are 154 Sonnets, within these Sonnets there are several people Shakespeare “writes to”, such as fair youth, dark lady and rival poet. Sonnet 20 is written to fair youth, or in other words a young man. The idea of homosexuality appears in Sonnet 20 after the speaker admits his love towards the young man.
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.
Spencer, Edmund. “Amoretti: Sonnet 54”. The Norton Anthology of English Literature. Gen. ed. David Simpson. 8th ed. Vol. 1. New York: Norton, 2006. 904. Print.
William Shakespeare (1564-1616) lived in a time of religious turbulence. During the Renaissance people began to move away from the Church. Authors began to focus on the morals of the individual and on less lofty ideals than those of the Middle Ages. Shakespeare wrote one-hundred fifty-four sonnets during his lifetime. Within these sonnets he largely explored romantic love, not the love of God. In Sonnet 29 Shakespeare uses specific word choice and rhyme to show the reader that it is easy to be hopeful when life is going well, but love is always there, for rich and poor alike, even when religion fails.
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.