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critical analysis of sonnet 130 by shakespeare
critical analysis of sonnet 130 by shakespeare
GENDER ISSUES IN LITERATURE
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on love poetry In this essay I will argue that the stereotypes placed upon women commonly associated with love sonnets are inherently misogynistic and will convey this through the comparison of William Shakespeare's sonnet 130 and Daniels 6 from Delia. Shakespeare's sonnet 130 highlights these stereotypes and uses a satirical approach in portraying the unachievable standards set for women in literature which contrasts to the Daniel's poem which is seen to objectify and to devalue women. This essay will also look at the argument of Simone Debeauvoir in the second sex which has aided in my analysis of the poems. In Sonnet 6 from Delia, a collection of sonnets, the writer clearly see’s women as other and is confused by the paradoxical …show more content…
suggesting her to fit into debeauvoir’s idea "bad women” stereotype which shows particular women in a negative light being the mandrake demon etc etc. this is because although beautiful the female is nasty nd mistreats the male writer. The poem itself is filled with contrasts an example being in the second line "her brow shades frowns, although her eyes are sunny”. This line from the text highlights the writers own confusion of women by using juxtaposition suggesting the women in the poem to be both frowning and simultaneously happy, coming from connotations of sunny being bright and cheerful. The objectification of women is also clear in line 5 by the use of the word “maid” enforcing the stereotype of females being domestic and homemakers and her actions compared to “honey” juxtaposition with the bitterness of her disdains at first gives conniptions of her sweetness and highlights her beauty. However, this too can be seen as objectification as honey is a commodity which can be bought, sold and owned. “Her favors honey” also has connotations to sexual favors as it plays on the idea of honey being pleasurable and its sticky texture also creates the idea of bodily fluids and the part these play in sex. This however is not literal and I believe is almost a fantasy for the poet as …show more content…
it suggests the female he is addressing is not physically attractive and that despite this he loves her. In order to convey this idea he uses trope like language used in love poems and suggests the his “mistress” is not this, shown in the first line and throughout (quote and analyse). this creates the idea that the she is human and not the idealistic beauty as set out out in daniels poem. This humanising element to Shakespeare's poem contradicts the theory of Debeauvoir which suggests women to be other (quote). Also, the nature of the poem confuses her idea that to men there is the good and bad woman this is because this poem is suggested to be aimed at shakespeares dark lady and at first glance you may assume that this means she would fall into the trope of the bad women. However the love the reader feels for the women is deep and true, going beyond physical appearance and this links closer to the trope of the good women. This suggests that the idea of the good and bad women is not as clear cut and Shakespeare plays with this idea. Through his description he paints an almost revolting image of the female, an example of this being "If her hair be wires, black wires grow on her head." This clever simile creates the impression that she is unkempt and we get almost hag like connotations from this description. Also in lines 7 and 8 "And in some perfumes is there more delight/Than in her breath that
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.
At the start, the first stanza of the poem is full of flattery. This is the appeal to pathos. The speaker is using the mistress's emotions and vanity to gain her attention. By complimenting her on her beauty and the kind of love she deserves, he's getting her attention. In this first stanza, the speaker claims to agree with the mistress - he says he knows waiting for love provides the best relationships. It feels quasi-Rogerian, as the man is giving credit to the woman's claim, he's trying to see her point of view, he's seemingly compliant. He appears to know what she wants and how she should be loved. This is the appeal to ethos. The speaker seems to understand how relationships work, how much time they can take, and the effort that should be put forth. The woman, if only reading stanza one, would think her and the speaker are in total agreement.
In all, the misogyny presented in these two poems is not restricted to the time period they were written. Just as in medieval literature, it is still common for today's woman to be recognized only for her physical attributes. I believe that in order to have equality of the sexes and to help overcome the objectifying of women, it is necessary for women not to use the misogynistic views placed against them to their advantage.
Traditional Petrarchan sonnets were conservative, standard, and led by a male voice. Wroth incorporated the Petrarchan sonnet in her works; however, she reversed the gender roles of the characters. In the opening sequence of Pamphilia to Amphilanthus, Wroth asked the reader if one will do “what he lists?” She replied with saying, “no I flye” (qtd. in Hagerman). Wroth’s use of “he” and “I” clearly identified herself as a female author. Wroth’s feminism is also present in an imitation of the Petrarchan sonnet “My Ship Passes” in Pamphilia to Amphilanthus. Wroth changed the voice of the speaker from “a ship” to “my paine”. The “ship” referred to an unknown woman while “my paine” clearly established the speaker as a female voice (qtd. in Fienburg). Wroth’s change in the speaker and the point of view in Pamphilia to Amphilanthus altered the traditional male role in the Petrarchan sonnet
This poem speaks of a love that is truer than denoting a woman's physical perfection or her "angelic voice." As those traits are all ones that will fade with time, Shakespeare exclaims his true love by revealing her personality traits that caused his love. Shakespeare suggests that the eyes of the woman he loves are not twinkling like the sun: "My mistress' eyes are nothing like the sun" (1). Her hair is compared to a wire: "If hairs be wires, black wires grow on her head" (3). These negative comparisons may sound almost unloving, however, Shakespeare proves that the mistress outdistances any goddess. This shows that the poet appreciates her human beauties unlike a Petrarchan sonnet that stresses a woman's cheek as red a rose or her face white as snow. Straying away from the dazzling rhetoric, this Shakespearean poem projects a humane and friendly impression and elicits laughter while expressing a truer love. A Petrarchan sonnet states that love must never change; this poem offers a more genuine expression of love by describing a natural woman.
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...
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.
Shakespeare’s themes are mostly conventional topics, such as love and beauty. Nevertheless, Shakespeare presents these themes in his own unique fashion, most notably by addressing the poems of beauty not to a fair maiden, but instead to a young man: ‘‘shall I compare thee to a summer’s day? Thou art more lovely and more temperate” (book). Shakespeare points out that the youth’s beauty is more perfect then the beauty of a summer day. It is also “more temperate”, in other words more gentle, more restrained whereas the summer’s day might have violent excesses in store. At first glance of sonnet 18, it’s pretty much certain that one would think Shakespeare is referring to a woman, not a man. The idea of a man describing another man with such choice of words is always seen with a different eye. Several even stated that Shakespeare is homosexual. Whichever the case may be, Shakespeare painted beauty in the most original matter. He dared to do what everybody else didn’t, or maybe feared to, and accomplished his goal with flying colors. Besides, in his sonnets, Shakespeare states that the young man was made for a woman and urges the man to marry so he can pass on h...
Much has been made (by those who have chosen to notice) of the fact that in Shakespeare's sonnets, the beloved is a young man. It is remarkable, from a historical point of view, and raises intriguing, though unanswerable, questions about the nature of Shakespeare's relationship to the young man who inspired these sonnets. Given 16th-Century England's censorious attitudes towards homosexuality, it might seem surprising that Will's beloved is male. However, in terms of the conventions of the poetry of idealized, courtly love, it makes surprisingly little difference whether Will's beloved is male or female; to put the matter more strongly, in some ways it makes more sense for the beloved to be male.
In order to understand the effects that ideas of femininity have on literary texts, we must first acknowledge what the term means. Clearly both terms derive from the original sex of the being, whether male or female, and can be similarly tied in with notions of gender, either masculine or feminine, which are said to be constructs, or labels, created by society. However `masculinity' and `femininity' become, on some levels, dislodged from the idea of the biological makeup and gender constructs, and instead tend to be described in terms of discourse. It is not just the sex and gender of a being that determines their actions, but instead their thoughts and opinions.
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.
The imagery in this poem depicts both that of a Petrarchan love poem and a rotting corpse further juxtaposed by a lengthy, disgusting description which seems to make it sexual. The poem itself is lyrical perhaps to mirror the unequal position which women acquired in society during the early 19th century. In this essay I will explore the imagery painted in The Carcass and how it may hide various connections to the reader’s views of women as sex objects and how he also reveals the difficulties faced by women during the 19th century. I will also be comparing the tone of the poem to that of the ideals of Petrarchan love poetry or sonnets.
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.
There is a defining complication in the sonnet. “This centers on the ambiguity of the term “mistress” which could refer to a husband’s wife, or, as the Oxford English Dictionary suggests, could also mean “[a] woman loved and courted by a man; a female sweetheart” or “[a]woman other than his wife with whom a man has a long-lasting sexual relationship” (Gregory, 2). The poem does not specify if “my love” refers to the speaker’s mistress or to the speaker’s love, his feelings. Shakespeare could be implying that his feelings and his love, are equally as sacred as the supposed love of other lovers that his mistress wrongly compares him
That means, the approaches of poet’s love remain the same. In one place, he portrays beauty as conveying a great responsibility in the sonnets addressed to the young man. The poet has experienced what he thinks of as "the marriage of true minds," also known as true love, that his love remains strong, and that he believes that it’s eternal. Nothing will stop their love, as in the symbols like all the ships, stars and stormy seas that fill the landscape of the poem and so on what can affect to their love. The poet is too much attracted with the young man’s beauty, though this indicates to something really bad behavior. But in another place, Shakespeare makes fun of the dark lady in sonnet 130. He explains that his lover, the dark lady, has wires for hair, bad breath, dull cleavage, a heavy step, pale lips and so on, but to him, real love is, the sonnet implies, begins when we accept our lovers for what they are as well as what they are not. But other critics may not agree with this and to them, beauty may define to something