The Treatment Of Outweighing By John Donne And Shakespeare On The Writing Of The Period

Throughout the fragmented poem, Sappho expresses how someone else’s degrading words affect her and how she handles that pain. She is quick to judge and takes action after being put down. With the descriptions of her pain in movements, she tells a story of what caused her pain.

Fragment 31 was of particular chagrin to those publishers who theorized that Sappho's poetry was "chaste," because the poem is so ripe with desire and the language of desire. In this fragment, a woman, presumably Sappho, gazes upon the object of her desire and feels longing and passionate physical feeling. "... your tempting

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.

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.

A text is essentially a product of its context, as its prevailing values are inherently derived by the author from society. However, the emergence of post-modern theories allows for audience interpretation, thus it must be recognised that meaning in texts can be shaped and reshaped. Significantly, this may occur as connections between texts are explored. These notions are reflected in the compostion of Edson’s W;t and Donne’s poetry as their relationship is established through intertextual references, corresponding values and ideas and the use of language features. Edson particularly portrays key values surrounding the notions of the importance of loved based relationships, and death and resurrection: central themes of Donne’s Holy Sonnets

Sappho’s poem, entitled Fragment 16, is of the lyrical style instead of the epic style we are used to in Homer’s Iliad. The lyrical style of poetry got its name because it was usually accompanied by a lyre while it was recited. It also was used to express more emotion rather than telling a story. This form of poetry seems to be more artistic rather than the story telling of epic poetry of the time. In this poem we are able to use the comparison of different imagery to understand a common theme within the poem itself. The reason for the interesting title of the poem is because most of Sappho’s poetry is now only found in fragmented forms. Most of Sappho’s writing is from 600 B.C.E.

Allusions to the environment are also present in Sappho’s love poems, in fact, using many of the same comparisons used in the Song of Songs, seemingly for the same purpose; to paint a picture of love. Under the surface though, Sappho is painting a beautiful picture of love to win over the help of Aphrodite to help satisfy her need for a fulfilling love, as is a common theme in her poems. Present in both Song of Songs and Sappho’s love poems, is the comparison of the rushing feeling of love to a stream of water, a protective, but fruitful apple tree, all placed within a pleasant garden. The stream in the Song of Songs is “a spring shut up” (132), representing a love that wishes to flow/be consummated, but ultimately cannot because of societal limitations, whereas

The first female Greek poet to influence not only the Greek culture, but also the global culture, Sappho was a well-known individual in history particularly due to her artistic capacity (E. Green, 1999, 344-346). From a poet to a talented musician, Sappho's personality and her poetic phenomenon has redefined the cultural norms expressed in the societal and literal formulas of archaic poetry from the perspective of her woman-centered world. (Hallett, J.P., 1979, pp. 447-450). The following response will investigate and analyze the differences between the two translations of - 'some say,' - one of Sappho's poems, in order to determine which variation of the poem was more convenient and appropriate within the male-dominant Ancient Greek culture and society.

In the lyrical poem, “Glittering-Minded deathless Aphrodite”, Sappho struggles with unrequited love. Her pain is felt when she pleads to Aphrodite the goddess of love, “I beg you, Zeus’s daughter, weaver of

In the original Greek, the fragment was composed of a singular line, yet in the translation, the lyric is divided into three separate portions. The first and last line contains the singer’s message, yet it is interrupted for the audience to formally recognize that she is indeed speaking. What she declares to an unknown individual(s) is a simple message, pertaining to being remembered even when at one point they might unfortunately be forgotten. Yet, it is critical to recognize that the analysis of the excerpt is based on a fragment of a completed work, and, as a result, can be erroneous compared to what was Sapphos’ original message.

Within the poem Shakespeare makes use of coded homoerotic language, homoerotic imagery, and transgressive sexuality, in hope of convincing the Golden Young Man to enter into a sexual relationship with him, and therefore deserves closer inspection.

Sappho composed her own music and refined the prevailing lyric meter to a point that it is now known as sapphic meter. She innovated lyric poetry both in technique and style, becoming part of a new wave of Greek lyrists who moved from writing poetry from the point of view of gods and muses to the personal vantage point of the individual. She was one of the first poets to write from the first person, describing love and loss as it affected her personally.’ In this text, her style was sensual and melodic; primarily erotic words of love, yearning, and reflection.

At this point Sappho’s physical desire has taken control of her senses, Sappho cannot speak or hear because she has become engulfed with desire. Sappho loses her sense of herself as the poem goes on she becomes overcome with desire. It is important to notice that Sappho speaks solely about physical wants. By using word such as “ tongue, skin , shaking and grip ‘ Sappho is only longing for a sexual attraction she makes no mentions of love.

This drama study will argue for the acceptance of homosexuality as a primary theme in Goodnight Desdemona by Ann-Marie MacDonald. The main character, Constance, is a modern woman that is transported through time to play a new character in Romeo and Juliet and Othello. MacDonald allows Constance to become female and male characters, which explore the duality of genders roles, which challenge accepted homophobic assumptions about sexual relations in Shakespearean plays. Constance’s observations about Elizabethan society provide a uniquely accepting view of homosexuality through a modern evaluation of the Constance/Constantine gender role shift. Therefore, Constance provides a validation of homosexuality in the commentary as a method of opposing sexism and homophobia in the original Shakespearean platys. The social construction of supporting gender/homosexual identity will be examined in relation to the modernity of Constance’s influence on Elizabethan characters. In essence, an argument supporting the acceptance of homosexuality will be defined through an analysis of Goodnight Desdemona by Ann-Marie MacDonald.

With every great story line comes a theme. William Shakespeare created an art of intertwining often unrecognizable themes within his plays. In Shakespeare’s play, The Merchant of Venice, one hidden theme is the idea of homosexuality. This theme might not have even been noticed until modern Shakespeare fans discovered them. According to Alan Bray’s book, Homosexuality in Renaissance England, “the modern image of ‘the homosexual’ cannot be applied to the early modern period, when homosexual behavior was viewed in terms of the sexual act and not an individual's broader identity.” (Columbia University Press). This difference between homosexuality as a “sexual act” and an