The poets of the Renaissance, however, did not neglect the physicality of love, and wrote about passion in several of their sonnets. As critic Robert H. Deming asserts, commenting John Donne’s Elegies, “Love of a celestial kind is love of the virtuous and beautiful woman … who is the first step up the Platonic ladder to love of an absolute, static kind. But this love is fit only for souls … hardly fit for bodies” (396). An example of the importance of physical desire is given in the sequence of 108 sonnets of “Astrophil and Stella” by Sir Philip Sidney. The protagonists of the sonnets are Astrophil, a young boy, and Stella, the girl he loves. Her name refers to a celestial dimension since the word “stella” means “star” in English. Nevertheless, …show more content…
In the sonnet, the poet celebrates Stella’s Virtue and he claims that everyone who looks at her “shall … find all vices overthrown”. (264). This is once again a use of the platonic theme that was dear to the Renaissance ideology. Stella is the living representation of the celestial purity of her name, as she leads every man to the right path of Virtue. As it often happens with Sidney’s sonnets, though, there is an interesting volta in the final line, “’But, ah!’ Desire still cries, ‘Give me some food!’” (264). The poet writes that Stella is a very virtuous woman, but he also suggests the importance of physical Desire. The man who looks at her is indeed moved towards perfection, but he cannot ignore the power of passion, which demands to be satisfied like it were hunger. Sidney is making an important point: Desire cannot be ignored because “eating” is necessary for human survival. Deming states that “[Astrophil learns that] Desire and Love are so closely related in him that he “One from the other scarcely can descrie” (1.3) … Human love inheres at just that paradoxical moment when Desire and Pure Love are balanced and harmonized in their respective claims upon him.” (406). The great ability of Sidney is describing love at its best. The love the poets of the Italian Dolce Stilnovo wrote about in their poems is artificial, as it does not provide a truthful representation of what …show more content…
These poems are an invitation to seize the moment that men make to women. Readers need not be surprised, for also the theme of carpe diem was very popular among ancient authors, like Horace and Virgil. Therefore, Renaissance poets, with their classical taste, were fond of this theme and used it in their sonnets. Strange as it may seem, the poems of carpe diem, too, talk about love, but they abandon the idealized aspect of love as a yearning of the soul for higher realities, and mainly focus on passion and sex. These literary works are also significant because they give an insight of a male-centric society, where the man is not a courteous knight anymore, but he is a person with deep bodily instincts that want to satisfy his appetites. One of the best examples of these sonnets is “To the Virgins, to Make Much of Time” by Robert Herrick. The key part of the poem is the first stanza, when the poet tells the virgins that “this same flower that smiles today / Tomorrow will be dying” (757). He suggests using their time while they still can and profiting of “that age … when youth and blood are warmer”
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.
Shakespeare examines love in two different ways in Sonnets 116 and 130. In the first, love is treated in its most ideal form as an uncompromising force (indeed, as the greatest force in the universe); in the latter sonnet, Shakespeare treats love from a more practical aspect: it is viewed simply and realistically without ornament. Yet both sonnets are justifiable in and of themselves, for neither misrepresents love or speaks of it slightingly. Indeed, Shakespeare illustrates two qualities of love in the two sonnets: its potential and its objectivity. This paper will compare and contrast the two sonnets by Shakespeare and show how they represent two different attitudes to love.
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
Sonnets are known for having a rigid format and being the hoard of poets’ flowery love confessions and tormenting heartache. While most poets generally stick to that cliche topic of love and the traditional English or Petrarchan structures, sonnets are not defined by these common features. Both Shakespeare’s “My mistress’ eyes are…” and Collins’s “Sonnet” satirically poke at typical sonnets, however, Shakespeare follows the standard English sonnet style while parodying the classic subject of love to show how ridiculous and idealistic love sonnets can be. On the other hand, Collins breaks free from those stern sonnet rules to joke about the strictness of sonnet structures while defining typical sonnet rules.
In the poem “Carpe Diem” the speaker, Horace, is giving advice to the reader in a very serious manner. He is advising the reader to live life to the fullest and never take anything for granted. Meanwhile, Robert Herrick is giving the same advice but in a more light-hearted manner. Furthermore, in “Carpe Diem” and “To the Virgins, To Make Much of Time, symbolism and different tones are utilized to portray the theme of living in the moment.
She continues to list her idealized love in Sonnets 43 and 14, stating that love should be pure as men “turn from praise”, a love which people endure because it is right and correct. She again through imagery demands the purity of genuine love that can grow through time and endure “on, through loves eternity”. This clearly explores the idea of aspirations, hope and idealism within the sonnet sequence.
Within sonnet 116, Shakespeare personifies the abstract noun of love when he states ‘Whose worth’s unknown’. Through personifying his ideology of true love, it makes it increasingly
Carpe diem is when the author makes the reader understand that they are trying to tell them to live to their fullest. In both “To His Coy Mistress” and “To the Virgins, to Make Much of Time” the author mentions how they should live like it’s their last day and to make the best out of it. Also beauty takes a big role in both poems and how one day it will fade, so for them to take advantage of it now before it fades.
George Gascoigne’s sonnet, “For That He Looked Not upon Her,” portrays a sullen man, hurt by the woman he loved. Through the uses of form, diction, and imagery, the sonnet evokes a complex attitude in each quatrain elaborating on the stages of torment the speaker receives from his ex-lover. By using these literary devices, the speaker portrays the dangers of desire and the conflicts that arise from within it. Gascoigne conveys a solemn and melancholy complex attitude developed throughout the use of such literary devices. The attitude of the speaker, expressed through the form of the sonnet, explains the dangers of gazing at the woman who burned him.
In the poem, “For That He Looked Not upon Her,” by George Gascoigne, the speaker longs for a woman who is dangerously tempting, yet trustless. This situation of forbidden desire develops an attitude of sorrow, regret, and longing of the man. The English sonnet’s quatrains, harsh and grievous diction, and strong visual and tactile imagery assist in developing his conflicting emotions which cause his complex attitude.
The structure of this poem is rather notable. It mimics the structure of a Clare sonnet, fourteen lines, iambic pentameter, AABBCCDDEEFFGG rhyme scheme. Both Italian and Shakespearean sonnets tended to be love poems. However, the Clare sonnet doesn’t quite fit properly with either, it’s a touch more simplistic in nature, which lends this poem something akin to irony. This poem isn’t simply a love poem, it’s poem about the frustration of love along with being a cautionary tale. It has a more
The title of the poem “My mistress eyes are nothing like the sun” suggests that the speaker is not in love with his ‘mistress’. However, this is not the case. Shakespeare uses figurative language by using criticizing hyperboles to mock the traditional love sonnet. Thus, showing not only that the ideal woman is not always a ‘goddess’, but mocking the way others write about love. Shakespeare proves that love can be written about and accomplished without the artificial and exuberant. The speaker’s tone is ironic, sarcastic, and comical turning the traditional conceit around using satire. The traditional iambic pentameter rhyming scheme of the sonnet makes the diction fall into place as relaxed, truthful, and with elegance in the easy flowing verse. In turn, making this sonnet one of parody and real love.
Poetry in Elizabethan time was based on courtly love conventions which included conceits and complements. Themes such as the unattainability of the lady, sleeplessness, constancy in love, cruelty of the beloved, renunciation of love, fine passion of the lover versus icy emotions of the beloved, praise of the beloved’s beauty and eternalizing her as being subject of the poem; these all are
The spirit of Elizabethan England was greatly manifested in the life and literature of this eminent courtier of Elizabeth. Sir Philip Sidney. His Greatest work is Astrophel and Stella, a series of sonnets on the various facets of love. The bitter sorrow for his lost happiness, the unconquerable longing to possess his love, the despair into which he was flung, the struggle between honour and passion - all is intensely portrayed in Astrophel and Stella.
‘Astrophil and Stella’ was first published in 1591 by the renowned Elizabethan poet Sir Philip Sidney. The Petrarchan styled sonnet sequence is comprised of 108 verses, and 11 songs in which the speaker, Astrophil shares his innermost thoughts and passions with regards to his love for a woman named Stella, the addressee of his lyric poetry. Each sonnet reconnoitres a slightly different phase of Astrophil’s love for Stella as their circumstances revolt; yet it details little of her fondness for him, as she neither rejects nor reciprocates his love, alluding to a fairly misleading romance. As the sonnets unfold, Stella weds another man, however when Astrophil learns she is miserable in her matrimony, he again becomes profusely engrossed in her. This sequence is significant as Stella eventually returns Astrophil’s adoration, but is ultimately plagued by her morality and cannot participate in carnal affairs with him as she is still wed, and this differentiates prominently with Sidney’s character Astrophil who is consumed with sexual longing for the woman he loves. As a result of Astrophil’s fixated nature, Stella refuses to continue to see him, and the closing sonnets reveal Astrophil’s thoughts and conflicting views on the matter. In the final verse, Astrophil grasps his immoral actions, and is anguished by the absenteeism of Stella from his life; however he feels some respite in knowing she once returned his love. From the three sonnets I have selected, I will now focus upon