Analysis Of Sonnet 75 By Edmund Spenser

A sonnet by definition is, a poem of fourteen lines using any of a number of formal rhyme schemes, in English typically having ten syllables per line. A poem is a piece of writing that says a lot in a few words; this sonnet does exactly that, it utilizes a multitude of literary devices to tell a story of a writer examining life with an ending message to push forward and go. In “An Echo Sonnet”, the author, Robert Pack uses repetition, hypophora, antithesis and synecdoche to reveal the voice experiencing writer's block which leads to the discussion of life and death between the voice and the echo.

The couplet of this sonnet renews the speaker's wish for their love, urging her to "love well" which he must soon leave. But after the third quatrain, the speaker applauds his lover for having courage and adoration to remain faithful to him. The rhyme couplet suggests the unconditional love between the speaker and his

“Shall I compare thee to a summer’s day?” (“Sonnet 18”) is one of Shakespeare’s most famous poems. It is the model English, or Shakespearean sonnet: it contains three quatrains and a finishing couplet.. The poem follows the traditional English sonnet form by having the octet introduce an idea or set up the poem, and the sestet beginning with a volta, or turn in perspective. In the octet of Sonnet 18, Shakespeare poses the question “Shall I compare the to a summer’s day” and basically begins to describe all the bad qualities of summer. He says it’s too windy, too short, too hot, and too cloudy. Eventually fall is going to come and take away all the beauty because of the changes nature brings. In the sestet, however, his tone changes as he begins to talk about his beloved’s “eternal summer” (Shakespeare line 9). This is where the turn takes place in the poem. Unlike the summer, their beauty will never fade. Not even death can stop their beauty for, according to Shakespeare, as long as people can read this poem, his lover’s beauty will continue to live. Shakespeare believes that his art is more powerful than any season and that in it beauty can be permanent.

A sonnet is a poem of fourteen lines that rhyme in a particular pattern. William Shakespeare’s sonnets were the only non-dramatic poetry that he wrote. Shakespeare used sonnets within some of his plays, but his sonnets are best known as a series of one hundred and fifty-four poems. The series of one hundred and fifty-four poems tell a story about a young aristocrat and a mysterious mistress. Many people have analyzed and contemplated about the significance of these “lovers”. After analysis of the content of both the “young man” sonnets and the “dark lady sonnets”, it is clear that the poet, Shakespeare, has a great love for the young man and only lusts after his mistress.

Naturally, Shakespeare’s very first Sonnet deals with themes of procreation and immortality, literally and figuratively birthing his series of Sonnets. Ideas of Genesis, or the creation of the world, show strong traces throughout the poem and serve as the piece’s main focus according to literary critic Helen Vendler. The sonnet also deals with the logistics of beauty; we want the most beautiful people to have children, so their beauty will be preserved forever—when the parent dies, the child they leave behind will remind us of their own beauty. Shakespeare utilizes metaphors in his language to help promote this idea, for example the image of a bud, growing until it inevitably dies and diminishes. Unlike flowers, Shakespeare tells us here that we humans have the opportunity to keep this beauty everlasting. The very beginning of Shakespeare’s infamous series of sonnets, Sonnet 1 celebrates the beauty of procreation and offers a plea for humanity centered around our duty as humans to procreate and let our legacies live on, so our spirits can live vicariously through generations of our children.

His subject, the one that embodies and is subjected to his theme of love, is loved by many and perhaps even all as she could be the personification of love itself. Her destructive and chaotic presence leaves traces on everyone’s lives yet they see through the bad qualities to find the true essence of what it means to love and be loved, cherishing the good despite the bad. Though her touch is careless and her actions are clumsy and hardly thought out, she means well and only wants those around her to be happy; this shows a balance in life and love that keeps people in an overall stable existence with each other. This is further supported with

   Sonnet 73 by William Shakespeare is widely read and studied. But what is Shakespeare  trying to say? Though it seems there will not be a simple answer, for a better understanding of Shakespeare's Sonnet 73, this essay offers an explication of the sonnet from The Norton Anthology of English Literature:

In sonnet 95, the speaker depicts a paternal feeling while speaking to the addressee, where indeed the poet reminds his audience about way appearance can be so deceiving. The young man is relying on his good appearance to veil his sexual immorality. Being that he is handsome and attractive, people are reluctant to disapprove his behavior. In the first quadrant, the poet employs different stylistic devices, which include simile, as the young man is likened to a fragrant rose, and on the other hand, he is compared to a destructive worm, but all his dark side of life is hidden under his good looking and charming nature. What is important about this poem is the manner in which the speaker reminds the young man about his bad behavior and draws examples that makes him feel sorry about what he does behind his good-looking nature. By the use of diction, imagery, diction, images, metaphors and other figures of speech, such as tone of voice, allusions, syntax and structure of the speech, the speaker warns the young man against his sexual immorality, and reminds him that there are detrimental risks associated with his behavior if he does not change.

The ending couplet sums up the main idea of the sonnet. It continues with the image of eternity and the memory of the addressee. When Shakespeare writes “So, till the judgment that yourself arise / you live in this and dwell in lovers eyes” there is still an emphasis on the word of the poem itself.

has the gentle heart of a woman but is not inconsistent as is the way

Shakespeare’s sonnet 60 expresses the inevitable end that comes with time and uses this dark truth to express his hopefulness that his poetry will carry his beloved’s beauty and worth into the future in some way so that it may never die. This love poem is, as all sonnets are, fourteen lines. Three quatrains form these fourteen lines, and each quatrain consists of two lines. Furthermore, the last two lines that follow these quatrains are known as the couplet. This sonnet has the rhyme scheme of ABAB CDCD EFEF GG, as most Shakespearean sonnets follow. In each of the three quatrains, Shakespeare discusses a different idea. In this particular sonnet, the idea is how time continues to pass on, causing everything to die. The couplet connects these ideas to one central theme, this theme being Shakespeare’s hope for the beauty of his beloved’s immortality through his poetry’s continuation into future times.

The speaker is really focusing on the full range of motion in the whole poem. A good example is especially when it talks about the declaration that (if he had time) he would love her “ten years before the flood” and “till the conversation of the Jews” combines hyperbole and allusions to create motion, in this case, a sense of rapid movement through time. He also uses the Biblical language ironically to poke fun at the mistress, whom he accuses of wanting something (like eternal love) while saying in the same breath that he would give this to her if he has time. This is the only instance of allusion in the

Edmund Spenser’s Sonnet 67 is one of 85 sonnets from Amoretti which was written about his courtship of Elizabeth Boyle. Spenser and Boyle were married in 1594. Sonnet 67 uses a hunting themed metaphor common in 16th century England comparing the woman to a deer and the man to a huntsman in pursuit. Sonnet 67 appears to have been inspired by an earlier work by Petrarch, Rima 190, but with a different ending. In this paper we will take an in depth look at this work, also commonly referred to as “ Lyke as a Huntsman”.

Sonnet 6 is notable for the ingenious multiplying of conceits and especially for the concluding pun on a legal will in the final couplet: "Be not self-willed, for thou art much too fair / To be death's conquest and make worms thine heir." Here, as earlier in the sonnet, the poet juxtaposes the themes of narcissism and death, as well as procreation. "Self-willed" echoes line 4's "self-killed," and the worms that destroy the young man's dead body will be his only heirs should he die without begetting a child which shows the theme of death. The whole sonnet is about trying to persuade the man to have a baby hence the theme if procreation. And lastly, the man is being selfish in wanting to die without passing on his beauty.

In his poem, “But love whilst that thou mayst be loved again”, he focuses on warning women to find love soon because beauty will not last with age. He compares a woman’s beauty to a flower: “the fairest flower that ever saw the light / men do not weigh the stalk for what it was / when they find her flower, her glory, pass” (Daniel 6, 13-14). Through this metaphor, he shows how men view beauty in love. No one looks at a dead flower and thinks about what it used to be, rather, he or she looks towards other flowers that bloom with life and colour. This sonnet begins as an admiration for his subject’s beauty, but it ends by telling the subject that when her physical beauty deteriorates, no one will love her. This poem reflects society’s fixation on superficial beauty because it reminds women that they will never find love without external beauty, as a result of the superficiality of men in society. Both poems of the Renaissance Period assert the idea of perfection and the importance of physical beauty in love and relationships.