The Sonnet Sequences Of Shakespeare And Wroth

This is a careful analysis of Edmond Rostand’s play Cyrano de Bergerac and William Shakespeare's poem Sonnet 18. They both can be compared in theme and use of romanticism. Even if Cyrano was written two centuries and eighty-nine years after Sonnet 18 they are still stunningly alike. Both of the authors show how love shows itself even if it is not direct.

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In the romantic era, British authors and poets focused on nature and its influence. Two of those poets, Charlotte Smith and William Wordsworth, wrote many pieces on the beauty of nature and their personal experiences with the beaches of England. In “Far on the sands” and “It is a beauteous evening,” Smith and Wordsworth describe their respective experiences on the shore at sunset. Both authors use structure, theme, allusions, and imagery to effectively convey their perceptions of nature. While the sonnets share a setting and the topics of nature and tranquility, Smith’s has a focus on introspection and Wordsworth’s is centered around religion. These have different focuses which achieve different effects on the reader.

‘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 the poets’ experiences. In ‘Sonnet 116’, Shakespeare illustrates how capability is weakened by its metaphysical stereotype and ideals such as, love which never seems to wither away according to Shakespeare 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.

This sonnet serves to invoke a strong sense of realism in love, arguing that as strong an intensity of emotion as may be held, may be held, without the need for delusions of grandeur, taking the view that trying to reconcile two essentially different and diverse things as equal is to do true justice to neither. The beloved in this case thus represents more the need for a character developed to challenge stereotype than an actual real-life woman,

A Crown of Sonnets Dedicated to Love is a poem series by Lady Mary Wroth, but this essay will focus only on the first sonnet of the sequence. Wroth had a particular writing style that appears within this poem. This sonnet follows the Shakespearian formula rigidly and uses it quite effectively, though it isn’t just a sonnet. The poem itself addresses love and the many roads it can lead to, and not many of them are truly desirable. Surprisingly, the poem does not use literary elements like alliteration and assonance to make the poem interesting, instead it harnesses repetition and rhyme to compel the readers. The sonnet feels seamless, which can be

I feel that so far in my life I have been able to challenge myself in everything I have taken part in. One of the prime examples where I have demonstrated this is in school. I have been able to push myself out of my comfort zone and though it may have been a bit trying at times it, everything I have gained from those experiences has led me to achieve even greater things. Throughout my career I have taken numerous honors classes and in addition to those also AP World History, AP Statistics, and Dual Credit English. I have excelled in these courses and I have even maintained a 3.9 GPA. All of my hard work in school also allowed me to be inducted into the National Honor Society. One of my biggest motivators that has helped to attain all that I have is my goal to graduate in the top 20 of my classes. To this point I have managed to accomplish my goal and am currently 18th in my class.

     The sonnet, being one of the most traditional and recognized forms of poetry, has been used and altered in many time periods by writers to convey different messages to the audience. The strict constraints of the form have often been used to parallel the subject in the poem. Many times, the first three quatrains introduce the subject and build on one another, showing progression in the poem. The final couplet brings closure to the poem by bringing the main ideas together. On other occasions, the couplet makes a statement of irony or refutes the main idea with a counter statement. It leaves the reader with a last impression of what the author is trying to say.

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.

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.

‘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.

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

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.

During the English Renaissance, there was a bloom of literature, fueled by the advent of the printing press and the patronage of the nobility. Beginning with Petrarch’s popularization of the Italian form, the sonnet became the English mainstay for portrayals of love. The progression of the Renaissance saw the experience of love detailed in many different ways through form, allegory, allusion, and metaphor. The fashioning of the love object in sonnets varies from writer to writer and progresses from an outward, ethereal love to an inward love, rooted in reality as the centuries progressed. Petrarchan love objects are larger than life—holy in nature, whilst anti-Petrarchan loves are human and flawed. Poets of this time grappled with the Platonic conventions of love: What does love mean on the grand scale? What constitutes the ideal experience? Is love a reflection of the holy, or is it a reflection of our most base human qualities? Each poet crafted their image of the love object in varying ways: Francesco Petrarch wrote an idol, Edmund Spenser wrote a genuine, yet ideal woman, William Shakespeare catered to harsh realism, and Lady Mary Wroth wrote of a stormy, imperfect lover.

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