The Use Of Insanity In Shakespeare's 'Sonnet 141'

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.

   Hamlet's public persona is a facade he has created to carry out his ulterior motives. The outside world's perception of him as being mad is of his own design. Hamlet is deciding what he wants others to think about him. Polonius, a close confidant of the King, is the leading person responsible for the public's knowledge of Hamlet's madness. The idea that Hamlet is mad centers around the fact that he talks to the ghost of his dead father. He communicates with his dead father's ghost twice, in the presence of his friends and again in the presence of his mother. By being in public when talking to the ghost, the rumor of his madness is given substance.

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.

The author persuades people to use their head before just using the words heart or love to give the word its true meaning. Carruth also displays what happens to words when they tend to be misused which is that they usually lose their value over time if they are not of great importance. Through his writing style in the poem, Carruth shows how people freely use the word “heart” and how it affects the meaning of the word. He opens and closes the poem with a question, refers to the heart as 'it' in the first stanza, and shows uncertainty of the importance of the heart in the first stanza as well.

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

The speaker uses words such as “louring” (line 2), “deep deceit” (line 8), “grievous” (line 11) and “bale” (line 140. All of these words have sorrowful and despairing meanings to them which gives the whole poem an unhappy tone. The third and fourth lines discus that the speaker cannot even look at the beautiful face, which appears to grow more attractive daily, of the woman he loves. Moreover, the couplet tells the readers that the sorrow in the speaker’s eyes is there because of the pain he has felt due to his faulty relationship. The mouse that “lies aloof for fear of more mishap” (line 7) shows the misery felt by the speaker by using the words “aloof” and “mishap”. “Aloof” means to be stand-offish or reserved, which the speaker is because if he gets too close, he will be hurt again. “Mishap” means disaster or unfortune which altogether sounds miserable. Had the speaker used diction that was lighter or less depressed, the reader truly would not understand the misery the speaker has went through. The miserable diction depicts the deep wounds the speaker received from his love, shedding light to how much he really loved her and how bad she really hurt

Joseph Pequigney, author of Such is My Love: A Study of Shakespeare’s Sonnets, agrees with and elaborates on Freud. He writes, “All of these characteristics belong to the poet’s love for the friend. It is a love that pays handsome narcissistic dividends; it is advantageous also for the friend, who is praised for personal qualities that would likely pass unnoticed were the poet not under the spell of his beauty.” Pequigney goes on to touch on the antithesis of the poet’s love for the young man, his lust for his mistress the “dark lady”. Because the mistress offers no self-seeking advantages, she is “disesteemed with vice but never virtue ascribed to her” (Pequigney 157). The poet attacks and questions her physical attractiveness as the affair goes on and she arouses lust that comes and goes.

The poem’s structure as a sonnet allows the speaker’s feelings of distrust and heartache to gradually manifest themselves as the poem’s plot progresses. Each quatrain develops and intensifies the speaker’s misery, giving the reader a deeper insight into his convoluted emotions. In the first quatrain, the speaker advises his former partner to not be surprised when she “see[s] him holding [his] louring head so low” (2). His refusal to look at her not only highlights his unhappiness but also establishes the gloomy tone of the poem. The speaker then uses the second and third quatrains to justify his remoteness; he explains how he feels betrayed by her and reveals how his distrust has led him

   Shakespeare's Hamlet is a master of deception. Hamlet decides to make Claudius believe that he is insane, but the scheme backfires when everyone, except Claudius, falls for it. Ophelia is one of those who believes Hamlet lost his mind, and when he does not return her love, she is so brokenhearted that she commits suicide. Near the end of the tragedy, Hamlet plays the part so well, that he convinces himself he is insane. Clearly, Hamlet's plan to put on an antic disposition is a tragic error.

Throughout many of Shakespeare’s plays, one of the central themes with which he provides his readers is the topic of madness and insanity. In Karin S. Coddon’s, “Such Strange Desygns”: Madness, Subjectivity, and Treason in Hamlet and Elizabethan Culture, the author depicts the reasons behind the psychosis of Shakespeare’s characters and what led to their insanity. The author expresses insight for not only the themes of madness in Hamlet but also helps explain the aspect of madness in one Shakespeare’s other plays, Macbeth. Through her analysis, Coddon successfully offers her readers a deeper understanding of Shakespeare’s choice to portray his characters in this way and provides the

In Shakespeare's Hamlet, there are two characters that display qualities of insanity.  They are Hamlet and Ophelia.  Although they both appear to be mad at times, their downfall (or supposed downfall) is quite different.  Ophelia's crazed characteristics show up and intensify quite rapidly, until she is ultimately led to suicide.  Her madness seems definite, and it is never questioned.  The insanity or sanity of the main character is an arguable question.  The issue can be discussed both ways, with significant support to either theory. Certainly, Hamlet has many reasons to lead him to becoming insane, because of the pressure and emotional strain that he is suffering from.  This might be enough to cause the character to become

The recurring theme of insanity and madness in William Shakespeare's Hamlet causes characters` minds to become skewed, and this impacts the way each person thinks and ultimately the way decisions are made. There is not only the mad as in angry, but also the mental state (insanity). The fact that almost all characters are mad at some point shows how madness driven this play really is, and how much emotions can control everyone regardless of their normal mental state.

The structure and tone of the poem enhance the conflict and hopelessness the speaker is feeling towards the woman he loves and desires. For the first twelve lines of the poem there is an “abab” rhyming pattern. This ties into the despairing and desirable tone and how the rhyming scheme can be an example of the speaker constantly going back and forth between emotions for this women. For example, “And that mine eyes take no delight to range About the gleams which on your face do grow.” (Gascoigne 3-4) are two phrases that contradict the speakers feelings. Stating that his eyes take no delight in range can refer to the speaker finding no use or happiness in looking at the woman. Although, he then mentions the gleams upon her face growing, giving the audience the idea that even though the speakers love for the woman causes him deep despair, he still desires her enough to describe her features in attentive detail; in this example the gleams on her face. This shows the back and forth pattern and the speakers struggle when it comes

“The course of true love never did run smooth,” comments Lysander of love’s complications in an exchange with Hermia (Shakespeare I.i.136). Although the play A Midsummer Night’s Dream certainly deals with the difficulty of romance, it is not considered a true love story like Romeo and Juliet. Shakespeare, as he unfolds the story, intentionally distances the audience from the emotions of the characters so he can caricature the anguish and burdens endured by the lovers. Through his masterful use of figurative language, Shakespeare examines the theme of the capricious and irrational nature of love.

Shakespeare, who wrote the sonnets in 1609, expresses his own feelings through his greatest work of literature. The theme of love in the poems reflect thoughts from the Renaissance period. Love is one of many components of Shakespeare’s life shown in the sonnets. Love can be defined in many ways other than a strong affection for a lover. In Shakespeare’s sonnets, the concept of love can be seen through many uncommon means such as the love of life before death in “Sonnet 73,” love in marriage in “Sonnet 116,” love through sexual desire in “Sonnet 129,” and love through nature in “Sonnet 130,” proving that love can be expressed through many different feelings and emotions.