The Power of the Sonnet
Sonnet 30 tells us that the speaker is a person who has long been stoic, whose tears have for a long time been unused to flow. In the situation sketched in the poem, he begins by deliberately and habitually making these tears flow again; he willingly--for the sake of an enlivened emotional selfhood--calls up the griefs of the past. In receding order, before the weeping "now", there was the "recent" dry-eyed stoicism; "before that," the frequent be-moanèd moan of repeated grief; "further back in the past," the original loss so often mourned; and "in the remote past", a time of achieved happiness, or at least neutrality, before the loss. This time-line is laid out with respect to various lacks, grievances, and costs, as we track the emotional history of the speaker's responses to losses and sorrows.
The initial, habitual "now" of weeping, is at the end surprisingly transformed into a final, actual "now", which resembles the remote happy past when one had love, precious friends, and the full enjoyment of those vanished sights, before sorrow entered, extended itself in mourning moans, and (even worse) hardened the soul into stoicism. The act described in the sonnet--a deliberate, willed, and habitual turn from the stoic back to mourning--is the only way the speaker has found to reconstitute the pre-stoical feeling self. However, this technique turns out to be a dangerous one. In line 12, we see the speaker not self-consciously remourning a woe that he knows to be an old one, but pitched, beyond his original intention, into a grief that no longer is aestheticized, but rather seems rawly new, original, horrible: "I new pay as if not paid before." The pay / not paid locution cancels out the previous locutions in which the second use of a verb or noun positively intensifies the first one, as in "grieve at grievances" or "fore-bemoaned moan." It is this wholly unexpected result--as an aestheticized, voluntarily summoned memory of "paid" grief turns into real "not paid" grief--that pitches thought into "I think." The speaker calls a halt, even if in supposition, to the "sessions of sweet silent thought" because they have grown suddenly painful.
The intricacy of the temporal scheme is pointed out by the sonnet itself, in its ostentatiously repetitious grieve at grievances foregone...fore-bemoanèd moan...pay as if not paid.
The following interesting thing is that Schlesinger mentioned that the self-esteem oriented teaching method would cause more conflict between each ethnic group. And once every ethnic and religious group claims a right or veto anything that is taught in public schools, cultural pluralism becomes ethnocentrism and any political motives behind them cannot be disguised anymore.
Axel-rod-Contrada, Joan. “Poverty in America: Cause or Effect?”. Marshall Cavendish in New York 2010: 20-29. Web.
... bruised by the poor reception of his poetry. The realizations that we all "must die", and that attempts to attain immortality through art are in vain, leave this sonnet with a lasting and overriding sense of despair.
Shakespeare’s Sonnet #23 is addressed to the lovely young man, called WH. The speaker is trying to convey his complex feeling towards his lover. He is tongue-tied in the young man’s company and he is trying to explain this awkwardness and express his complex emotions in this sonnet. It is, the speaker says, due to the hugeness of his love, that makes it too heavy to carry. For the author this sonnet is a silent representation of his inner voice. To show the complexity of the situation, he compares poet’s role as a lover to an actor’s timidity onstage. He asks WH to read these silent lines and explains that love will give him the insight to read between lines. The sonnet consists of 14 lines, which are splitted into octave and a sestet, and has typical for Shakespeare’s sonnets rhyme scheme: a-b-a-b, c-d-c-d, e-f-e-f, g-g. He uses first two quatrains to establish a problem and then resolves it in a third quatrain, summarizing solution in the following couplet.
Canfield Reisman, Rosemary M. “Sonnet 43.” Masterplots II. Philip K. Jason. Vol. 7. Pasadena: Salem Press, 2002. 3526-3528. Print.
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.
King Saul: [Looks at his armor-bearer] If you will not do it then I will do it myself! I rather die by my own hands instead of these rotten maggots!
The speaker uses metaphors to describe his mistress’ eyes to being like the sun; her lips being red as coral; cheeks like roses; breast white as snow; and her voices sounding like music. In the first few lines of the sonnet, the speaker view and tells of his mistress as being ugly, as if he was not attracted to her. He give...
This Shakespearean sonnet consisting of 14 lines can be subdivided into 3 parts. In each part, the poet uses a different voice. He uses 1st person in the first part, 3rd person in the 2nd part and 2nd person in the last part. Each section of the poem has a different theme that contributes to the whole theme of the poem.
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.
In the sonnets “When I Have Fears that I May Cease to Be”, by John Keats, and “Anthem for Doomed Youth”, by Wilfred Owen, the poets’ use of formal elements create distinctions to mark the speakers’ thoughts and build upon the situation. Although the two sonnets differ in their general structure, the formal elements making up that structure are just as crucial for both of them to organize and contrast the themes and ideas present throughout the
A family of five including a father Tom, mother Fran, two sons Arthur 9 and Collin 2, and daughter Jennifer 4 was court ordered to attend therapy from the result on charges of child neglect. The family charges were based on inappropriate living environment and resulted to temporary losing custody on Arthur and Jennifer, however Collin remain in protected custody from the results of illness. After the return of Arthur and Jennifer, the children have displayed defiant behavior including constantly fighting each other and arguing. Their behavior is the results of an attempt to gain attention of their parents after living with strangers. The temporary disconnection with their family has resulted in a disruption in self-control and social skills.
Spencer, Edmund. “Amoretti: Sonnet 37”. The Norton Anthology of English Literature. Gen. ed. David Simpson. 8th ed. Vol. 1. New York: Norton, 2006. 904. Print.