2.2. The Fair Youth and the Dark Lady
2.2.1. Beauty and Attractiveness
Starting with the category of beauty, one must mention that since there are two beloveds in the sequence, it cannot a priori be as uncomplicated and straightforward as the category of beauty in the Petrarchan sonnet sequence. Indeed, beauty in the Sonnets is divided into the fair and black beauties, as well as the male and female ones.
To begin with, the fair cold beauty of Petrarch’s Laura is transferred onto the image of the Fair Youth: Although still shining and perfect, it becomes a male, not a female beauty. Furthermore, following Petrarch’s example, Shakespeare describes rather vaguely since his “goal is not the specificity of portraiture, but precisely the non-specificity
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More precisely, the lady is described as black and thus obviously confronting the convention, but she is still regarded beautiful – even if only by the speaker and his friend, who nevertheless feel attracted to her because it is the “heart that loves” (Shakespeare 141), not the eyes. In other words, the dark attractiveness of the poet’s mistress can still be ‘enjoyed’ since both the poet and his male friend find the lady attractive enough to sleep with her (in both cases) and to write poetry about her (in the case of the poet). This non-conformity of the female image and the introduction of the male image into the sequence is, according to Craik, the indication of Shakespeare’s deviation from the convention (165). At the same time, Callaghan retorts as follows: “[T]he inamorata … confirms to the specifications of type precisely because she is like no other” (19). A paradox seems to emerge here – the darkness of the Lady goes beyond the convention, but her extraordinarity complies with it. However, the black attractiveness of the Lady does not feel as beauty: Although attracted to her, the speaker distictly sees imperfections in her appearance (Shakespeare 141). Moreover, “Sonnet 130” clearly reveals that being “black” is not the only …show more content…
In fact, the sequence already begins with the speaker’s preaching his young addressee on the necessity of procreation as a means of preventing the otherwise inevitable loss of beauty. In the very first sonnet, the poet elaborates on this idea: “But as the riper should by time decease / His tender heir might bear his memory” (Shakespeare 1: 3–4). However, there is an incongruity about this point of view on heredity of beauty: As Schoenfeldt rightly notices, when the speaker urges the young man to procreate, he argues that the heir will inherit his father’s beauty and will continue it; at the same time, “Sonnet 3” suggests that the young man himself looks like his mother (128) – he is his “mother’s glass” (Shakespeare 3: 9). Thus, it stays unclear why the Youth’s son will look like his father and not like his mother. Later in the sequence, perhaps having noticed the aforementioned discrepancy himself, the speaker ‘realizes’ that not only procreation (as a quite unreliable way of continuing one’s beauty) can preserve the Youth’s handsome appearance; as another option, he promises to eternalise his addressee in his poetry: “So long as men can breathe or eyes can see / So long lives this, and this gives life to thee” (Shakespeare 18: 13-14). In such a way, for the purpose of eternalizing the beloved’s beauty “[p]oetic
Current stereotypes and of Shakespeare’s time are similar in manifold ways. These stereotypes thrust upon girls at such a young age can cause them to compare themselves to one another. One might want the other’s nose, while one might want to be shorter like the other. When I was younger, I just wanted to be thinner. To look like those girls on the magazine covers I what I desired, which is an unattainable goal in my everyday life. Just like how these girls, and even myself, compare themselves to each other, Shakespeare compares his lover to the ideal woman of his own time. Stating another way that his lover varies from the ideals of the time, Shakespeare compares her hair to those of others lovers when he states the following: “If hairs be wires, black wires grow on her head.” In the public today, women want long, silky hair. Over the years, it seems that society believes that blonde hair is more attractive, and women with blonde hair have bounteous amounts of fun and act more impromptu. I, on the other hand, have shorter, dark brunette hair, but this does not mean I cannot have fun or be just as attractive as a “bombshell blonde.”
Shakespeare’s sonnet 130, “My mistress’ eyes are nothing like the sun” and Pablo Neruda’s “My ugly love” are popularly known to describe beauty in a way hardly anyone would write: through the truth. It’s a common fact that modern lovers and poets speak or write of their beloved with what they and the audience would like to hear, with kind and breathtaking words and verses. Yet, Shakespeare and Neruda, honest men as they both were, chose to write about what love truly is, it matters most what’s on the inside rather than the outside. The theme of true beauty and love are found through Shakespeare and Neruda’s uses of imagery, structure, and tone.
During the tragedy, Macbeth, the main character, or tragic hero, encounters a battle with his wife and the supernatural. More specifically, he faces Lady Macbeth and the “weird sisters” (1.3 32) in a journey in which he loses his sanity and his life. William Shakespeare illustrated these three witches with emphasis on hideous and evil features in order to show how negative influence acts as an internal conflict. Whereas Lady Macbeth was presented as ambitious and manipulating, leading to Macbeth’s external conflict and unfortunate end. His portrayal of women is undoubtedly negative.
In the first quatrain of “My mistress’ eyes are nothing like the sun…”, the speaker is already showing that this is not an ordinary love poem. He says, “my mistress’ eyes are nothing like the sun” (line 1). This metaphor depicts that the woman does not have bright eyes. Most poets would use a cliché to describe a woman’s eyes as bright or like sapphires, but the speaker is saying there is nothing special about her eyes. Next, the speaker describes the woman’s lips. The color coral is slightly orange, but he believes coral is more red than her lips. Also, most poets would describe their subjects to have bright, shiny red lips (2). In these two lines, the speaker compares his mistress to things found in nature, and many people associate beauty with nature. However, that is not the case with this poem. He describes her as the complete opposite. In line 3, the woman’s skin is described as gray which makes it seem like her skin is dull. In Shakespeare's time, pale skin was more desirable, and since she does not have a pale complexion, it would make her less attractive. The speaker then compares her hair to wire in this line: “If hairs be wires, black wires grow on her head” (4). A beautiful woman is usually described as having silky locks. That is the opposite in this poem. This comparison depicts the woman to have hair that lacks
In Othello, Shakespeare challenges the desires and perspectives put on ladies in the public arena. He endeavours to change the attitude
In modern times, youth and beauty is an image seen everywhere. For example, a Versace billboard, magazine ad, TV commercial, all of which displays images of beautiful people. But what happens when this beauty fades? Shakespeare in his 12th sonnet talks about his experience and fading beauty. The purpose of this poem is to encourage a young man to not lose his beauty to the ravages of time. In order to do this, one must reproduce so beauty will live.
In conclusion, Shakespeare's interpretation of the Elizabethan woman suggests that when one puts gender aside, one can truly observe how similar, if not identical, they are. Both genders are capable of equally complex emotional, mental, and social constructs, and true characteristics of gender are ultimately fluid
Macbeth refers to Lady Macbeth as his “dearest partner” (11). This shows the contrast between Lady Macbeth role in society versus the role of an average woman in medieval society. Since Lady Macbeth is seen as an equal to a man, in Macbeth’s eyes, he will pay more attention to what she has to say. This plays into the appearance versus reality because the reader would assume Lady Macbeth holds little power. In reality, Macbeth sees her as an equal, and it can be argued that Lady Macbeth has more power for most of the tragic play. Therefore, Lady Macbeth showcases the theme of appearance versus reality while displaying abnormal medieval general roles.
Gender plays an important role in Shakespeare’s comedies. Cross gender roles and cross dressing are essential not only for the inherent humour of the situation but also for the advancment of the plot. English Renaissance stereotypes of women and men and their various roles and responsibilities in society are reflected in Shakespeare. What sets Shakespeare apart is the fact that he also challenges, and at times even breaks down those stereotypes especially in his comedies. Hamlet may proclaim “Frailty thy name is woman”, but even the merest of character analyses of Portia in The Merchant of Venice, or Viola in The Twelfth Night conclusively proves that they are anything but. In this paper we begin by examining the prevailing gender
William Shakespeare is recognized as a pioneer of English literature. Shakespeare's innovative style of writing pushed boundaries and his ability to tastefully allude to taboo subjects such as incest, interracial relationships, and infidelity broke the conventional mold of what a tragedy could necessitate. Along with all of that Shakespeare constantly incorporated appearance vs reality within his plays. No other play personifies Shakespeare’s capability to use appearance vs reality in order to provide a relevant, yet possibly controversial stories like Macbeth and Hamlet. Appearance vs reality is an essential element without it, they both would lose the intriguing factors that keep the moral of the stories complex and consistent.
To keep a fire from burning out, you must add more wood to feed the flames. To keep a family tree from dying, you must procreate to keep your family name alive. The first seventeen sonnets of William Shakespeare are known as the procreation sonnets, for they discuss the necessity for a man to have offspring. The very first sonnet explains that if he decided not to reproduce, then he is considered selfish for not wanting to share his beauty with the world, and foolish for willingly giving up immortality.
My series is, however, different from these portraits in many ways, the two most notable being: I have stripped my paintings of color, and I have painted portraits featuring more than one character. These two simple changes were, of course, guided by my reading of the text and my artistic interpretations of its central themes. I chose to leave these paintings in black and white to invoke the viewer to consider the seemingly black and white divide between love and pride in this play. As I previously stated in the first section of this analysis, through the use of obvious and simple central conflicts (from Hermia’s love against her father's overbearing rule to Bottoms blatant arrogance) Shakespeare portrays love and pride as opposites, and the lack of color in my final images is meant to subtly reaffirm this truth. Furthermore, my decision to paint “group portraits” was informed by my desire to emphasise the contrast between certain personal relationships within the play as well as highlight the crucial
‘Sonnet 116’ by William Shakespeare and ‘What Lips My Lips Have Kissed, And Where, And Why” by Edna St. Vincent Millay are both sonnets that discuss companionship and a glimpse of each poet’s experiences. In ‘Sonnet 116’, Shakespeare illustrates how capability is weakened by its metaphysical stereotype and ideals such as, love, while on the contrary, in ‘What Lips My Lips Have Kissed, And Where, And Why” Millay feeds on the chaos between the ideal of love and its harsh reality, heartbreak. Both poets seem to be love struck but there is a significant difference in the two. I will compare and contrast ‘Sonnet 116’ by William Shakespeare and ‘What Lips My Lips Have Kissed, And Where, And Why” by Edna St. Vincent Millay. I will also inquire and analyze why this particular form of poetry established different effects.
Abstract—Numerous characters appear in the works of England’s most prominent play writer, William Shakespeare. Most of the time, his male protagonists possess various and complex characteristics throughout the storyline of his work, making it interesting for the readers to analyze their actions in many different aspects. However, some critics argue that unlike male characters, Shakespeare’s female characters are rather more flat and one-sided, pointing out that they are either the extreme version of good or evil. Especially, it is a significant topic to discuss in the modern days, considering the fact that gender stereotype is now a sensitive issue. Starting from such argument, it is important to address their purpose of being in the play and suggest their meaning to the modern readers of today. In this context, this paper analyzes several female characters of Shakespeare’s work by closely examining their actions and lines. The characters analyzed are Ophelia from Hamlet, Cordelia from King Lear, Katherine from The Taming of the Shrew, Goneril from King Lear and Lady Macbeth from Macbeth. Nevertheless, some female protagonists of Shakespeare’s work do not fall in to this category and exceed the limitations of others. Therefore this paper proposes alternative characters such as Juliet from Romeo and Juliet and Portia from The Merchant of Venice that are rather more complex and difficult to include in just one category. By doing so, this paper critically analyzes the strengths
Many of the sonnets are romantic, with more than half appearing to be written about a romance with a young man, and the rest are written about a woman referred to often as the Dark Lady. This paper will be concerned with Sonnet 7.