The Integration of Theme and Tone in Shakespearian Sonnets تفاعل
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By William Shakespeare: Translation Studies
TRANSLATION PROCESS IN “SONET 12” BY WILLIAM SHAKESPEARE: TRANSLATION STUDIES Mayasari Faculty of Languages and Communication, Universitas Harapan Medan, Indonesia ABSTRACT The paper revisits the concepts of translation process by Newmark (1988). Translation as a product is a written text in a target language as the end result of a translation process for a source-language text. Following the Newmark‟s (1988) theory, the writer analyzed the text around the analysis of the source text, transfer of the text into the target language and revision of the translation. Keywords: Translation Process, Newmark’s Theory, Sonet 12 INTRODUCTION language by the same message or statement in another language” Since the study discusses the Newmark emphasizes that translation translation analysis, the definition of is a process of rendering written translation should to be known. Here message, from source language to some definition of translation from target language without adding or experts. According to Newmark reducing the message. The following is (1988:7) “Translation is a craft a diagram about how to translate a text consisting in the attempt to replace a by Newmark (1988:4): written message statement in one writers, norms, culture and setting and tradition. TranslatorS should keep the originality of each Lelement from the source language. The only change on the translation processc is the form. The form of the source languageu is changed by the form of the targetl language. The form of language trefers to words, phrases, clauses,u sentences, paragraphs, etc. r Furthermore, translator should consider the In translating a text, there are appropriate form in the target language four important elements, they are such as lexicon and grammatical 193 structure. -
Teaching Shakespeare's Sonnets
Teaching Shakespeare’s Sonnets: time as fracture in sonnets 18, 60 and 63 Miguel Martínez López UNIVERSITY OF GRANADA Literary studies on the Sonnets before the seventies were usually part of larger works on Sha- kespeare or on the sonnet. Specialization and detailed analyses of individual and groups of sonnets is absolutely necessary before attempting any further generalizations, which so far have led nowhere.1 In this paper I suggest a possible approach to the discussion of Shakespeare’s poetic stance as regards the intellectual metamorphosis of human apprehension of time at the dawn of the Modern Age. My reading and analysis of three of the «time-sonnets» (nos. 18, 60 & 73) is set within the context of a final-year or graduate class, minimally fluent in rhetoric, in basic medieval and Renaissance philosophy and in the intellectual history of this period.2 My central contention is that Shakespeare superbly epitomizes in his poetry and drama the fear of death resulting from a radical change in the apprehension of time: time passus (the form typical of the M. A.) becomes now time fractus.3 Humankind is and has always been fearful of death (the ultimate consequence of the passing of time) but there is a historical period -broadly between the mid-fourteenth century and the mid-seventeenth century- in which existential anguish has been at its highest. For three centuries, a series of endless calamities assaulted Europe: the Black Death, the Hundred-Year War, the invasions of the Turks, the Great Schism of the Reformation… . In the Autumn of the M. -
Exploring Shakespeare's Sonnets with SPARSAR
Linguistics and Literature Studies 4(1): 61-95, 2016 http://www.hrpub.org DOI: 10.13189/lls.2016.040110 Exploring Shakespeare’s Sonnets with SPARSAR Rodolfo Delmonte Department of Language Studies & Department of Computer Science, Ca’ Foscari University, Italy Copyright © 2016 by authors, all rights reserved. Authors agree that this article remains permanently open access under the terms of the Creative Commons Attribution License 4.0 International License Abstract Shakespeare’s Sonnets have been studied by rhetorical devices. Most if not all of these facets of a poem literary critics for centuries after their publication. However, are derived from the analysis of SPARSAR, the system for only recently studies made on the basis of computational poetry analysis which has been presented to a number of analyses and quantitative evaluations have started to appear international conferences [1,2,3] - and to Demo sessions in and they are not many. In our exploration of the Sonnets we its TTS “expressive reading” version [4,5,6]1. have used the output of SPARSAR which allows a Most of a poem's content can be captured considering full-fledged linguistic analysis which is structured at three three basic levels or views on the poem itself: one that covers macro levels, a Phonetic Relational Level where phonetic what can be called the overall sound pattern of the poem - and phonological features are highlighted; a Poetic and this is related to the phonetics and the phonology of the Relational Level that accounts for a poetic devices, i.e. words contained in the poem - Phonetic Relational View. -
New Sonnets.Indd
Contents ____________________________________________ About This Volume . vii THE AUTHOR & HIS WORK Biography of William Shakespeare . 3 Shakespeare the Poet . 7 Introduction to Shakespeare's Sonnets . 14 The Lasting Allure of Shakespeare's Sonnets . 18 HISTORICAL & LITERARY CONTEXTS English Poetry in the Sixteenth Century . 29 Does Shakespeare's Life Matter? . 41 The Sins of the Sonnets . 51 Shakespeare (Not?) Our Contemporary: His Sonnets and More Recent Examples . 65 CLOSE READINGS OF 25 SONNETS Sonnet 1 . 75 Sonnet 18 . 77 Sonnet 19 . 79 Sonnet 20 . 81 Sonnet 29 . 83 Sonnet 30 . 85 Sonnet 31 . 87 Sonnet 53 . 89 Sonnet 54 . 91 Sonnet 57 . 93 Sonnet 73 . 95 Sonnet 90 . 97 Sonnet 94 . 99 Sonnet 97 . 101 Sonnet 98 . 103 Sonnet 102 . 105 Sonnet 104 . 107 Sonnet 106 . 109 Sonnet 109 . 111 Sonnet 116 . 113 Sonnet 129 . 115 Sonnet 130 . 117 Sonnet 141 . 119 v Sonnet 146 . 121 Sonnet 151 . 123 CRITICAL READINGS 1: FORM & TECHNIQUE The Form of Shakespeare's Sonnets . 127 Vocabulary and Chronology: The Case of Shakespeare's Sonnets . 137 Sound and Meaning in Shakespeare's Sonnets . 149 Ambiguous Speaker and Storytelling in Shakespeare's Sonnets . 170 Secrets of the Dedication to Shakespeare's Sonnets . 183 CRITICAL READINGS 2: MAIN THEMES Four Pivotal Sonnets: Sonnets 20, 62, 104, 129 . 195 Shakespeare's Sonnets and the History of Sexuality . 207 Shylock in Love: Economic Metaphors in Shakespeare's Sonnets . 223 Hoarding the Treasure and Squandering the Truth: Giving and Posessing in Shakespeare's Sonnets to the Young Man. .235 Without Remainder: Ruins and Tombs in Shakespeare's Sonnets . 245 Ecosystemic Shakespeare: Vegetable Memorabilia in the Sonnets . -
Summer Reading 12 AP
English 12AP Summer Reading Assignment (Revised 9/19) All seniors entering English 12 AP in the fall must read Edith Hamilton’s Mythology: Timeless Tales of Gods and Heroes, which is a compilation of myths drawn from classical literature. Paperback editions are available at local bookstores and libraries as well as through on-line merchants. E-texts can be found here and here. As you read, keep a reading log, take notes, or annotate in a way that will help you to remember the characters and storylines of each myth. After you read, choose one poem from the list below and write a 500-word explication discussing how the allusion in the poem supports the poet’s aim. Consider the following features of allusion: 1. An allusion is a reference to another work (e.g., mythological, classical, biblical, literary, or historical). 2. An extended allusion is more than an isolated reference but calls to the reader’s mind the entire context of its source in order to comment on the poet’s subject. 3. The reference (classical, biblical, or mythological, for example) is not itself the subject of the work in which it appears. For example, it would not be an allusion if a poem reviews, retells, or revises a myth or part of a myth, as do Pope in “Argus,” Byron in “Prometheus,” Keats in “Ode to Psyche,” Tennyson in “Ulysses,” Swinburne in “The Garden of Proserpine,” Yeats in “The Fascination with What’s Difficult,” and Parker in “Penelope,” and Blake in “Why Was Cupid a Boy?” You will be graded on the following: 1. -
The Hermeneutics of Symbolical Imagery in Shakespeare´S Sonnets
UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL INSTITUTO DE LETRAS PROGRAMA DE PÓS-GRADUAÇÃO EM LETRAS LITERATURAS DE LÍNGUA INGLESA The Hermeneutics of Symbolical Imagery in Shakespeare´s Sonnets Dissertação submetida à Universidade Federal do Rio Grande do Sul para obtenção do grau de Mestre em Letras na Ênfase Literaturas de Língua Inglesa Mestrando: Rafael Carvalho Meireles Orientadora: Profa. Dra. Sandra Sirangelo Maggio Porto Alegre Maio, 2005 FICHA CATALOGRÁFICA MEIRELES, Rafael Carvalho The Hermeneutics of Symbolical Imagery in Shakespeare´s Sonnets Rafael Carvalho Meireles Porto Alegre: UFRGS, Instituto de Letras, 2005. 209 p. Dissertação (Mestrado - Programa de Pós-graduação em Letras) Universidade Federal do Rio Grande do Sul. 1. Literatura inglesa. 2. Crítica literária. 3. William Shakespeare. 4. Sonetos. 5. Estudos do Imaginário. Agradecimentos FAMILIARES: À minha mãe e ao meu pai PESSOAS ESPECIAIS: PROFESSORES ESPECIAIS: Às professoras Dras. Sandra S. Maggio e Ana M. L. de Mello MEMBROS DA BANCA: Ana M. L. de Mello, Élvio A. Funck, Rosalia N. Garcia ÓRGÃOS FINANCIADORES PPG-LET Por fim, a todos aqueles que, direta ou indiretamente, auxiliaram a realização deste trabalho. RESUMO A presente dissertação consiste em um estudo das imagens simbólicas dos Sonetos de Shakespeare sob a luz das teorias modernas e contemporâneas do imaginário, mito e símbolo de autores como C.G.Jung, P. Ricoeur e G. Durand. Procura mostrar parte do processo criativo Shakespeareano identificando mitos pessoais, imagens recorrentes, assim como arquétipos e padrões arquetípicos presentes nos sonetos. Divide-se em três capítulos. O primeiro, a Introdução, apresenta Shakespeare como poeta e resume algumas abordagens críticas e os problemas decorrentes que foram debatidos até então. -
The Athenaeum Press Series
THE ATHENAEUM PRESS SERIES G. L. KITTREDGE AND C. T. WINCHESTER GENERAL EDITORS Series announcement THE "Athenaeum Press Series" includes the choicest works of Eng lish literature in editions carefully prepared for the use of schools, col leges, libraries, and the general reader. Each volume is edited by some scholar who has made a special study of an author and his period. The Introductions are biographical and critical. In particular they set forth the relation of the authors to their times and indicate their impor tance in the development of litera ture. A Bibliography and Notes accompany each volume. Athenaeum Press Series THE SONNETS OF SHAKESPEARE WITH AN INTRODUCTION AND NOTES BY H. C. BEECHING, M.A., D. LITT. BOSTON, U.S.A., AND LONDON GINN & COMPANY, PUBLISHERS 1904 ENTERED AT STATIONERS' HALL COPYRIGHT, 1904 BY H. C. BEECHING ALL RIGHTS RESERVED IV V7^ O AMICIS BALLIOLENSIBVS ANDREAE CECILIO BRADLEY SIDNEIO LEE DE POETA NOSTRO BENE MERENTISSIMIS QVORVM FAVOR HVNC LIBELLVM VNICE PRODVXIT GENITOR 4~ CO (^ 195527 PREFACE This edition of Shakespeare's sonnets was suggested by my friend Mr. A. C. Bradley, Professor of Poetry at Oxford, who was interested in a paper on the subject which I con tributed to the Cornhill Magazine in February, 1902. That paper, by the good leave of the publisher, I have used as the basis of the present Introduction ; and the rest of my editorial work has consisted in dividing up the sonnets into groups and annotating them. As there are already before the public not a few editions of Shakespeare's son nets by well-known writers, I may be allowed to set out what I conceive to be the peculiarities of this edition. -
Milton's Sonnets : Their Debts and Influences
MILTON'S SONNETS: THEIR DEBTS AND INFLUENCES BY RALPH EARLE fIEJE A. B. University of Illinois, 1910 THESIS mitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS IN ENGLISH IN THE GRADUATE SCHOOL OF THE UNIVERSITY OF ILLINOIS 1912 ! v.- UNIVERSITY OF ILLINOIS THE GRADUATE SCHOOL mj 25, 19«2 I HEREBY RECOMMEND THAT THE THESIS PREPARED UNDER MY SUPERVISION BY Ralph Earle Tieje Sonnets: Their Debts and Influences ENTITLED ..alton's BE ACCEPTED AS FULFILLING THIS PART OF THE REQUIREMENTS FOR THE DEGREE OF piaster of Arts in English - In Charge of Major Work —T Head of Department Recommendation concurred in: Committee on Final Examination Table op contents. Page Bibliography. 1 Chapter I Milton's Sonnets. Chapter II The Sonnet in England before Milton ....24 Chapter III The Sonnet after Milton and before Wordsworth 49 Chapter IV The Sonnet in the Nineteenth Century 75 Addendum a. Brummond's Rime Schemes I B. Brydges's " " VI C. Bowles's " " VI1 UIUC • BIBLIOGRAPHY Criticism . Hunt, Lei»h, and Lee, A. S. Book of the Sonnet 2 v., London, 1867. Lee, Sidney Elizabethan Sonnet b , Introduction v. 1. Westminster, 1904. Lee, Sidney, Cambridge History of English Literature , v. 3. ohp. XII, Cambridge, 1909, Leutzner, Karl, Uber das Sonet und seine Postaltung in der Englisohen DTchtung bis Milton. leipzig. 1886. Hiohol, J., Ward's English Poets . Introduction to Dunbar, v. 1, Hew York, 1908. Noble, James Ashoroft , The Sonnet in England . London, 1896. Phelps, William Lyon, The beginnings of the English romantic movement ; a study in eighteenth century literature. -
Heart of America Shakespeare Festival 3619 Broadway
Heart of America Shakespeare Festival 3619 Broadway. Suite 2. Kansas City, MO. 64111. phone: 816-531-7728. fax: 816-531-1911www.kcshakes.org Sonnet SHAKE UP Teacher guide Shakespeare in Education “All the world’s a At the Heart of America Shakespeare Festival we present stage, all the men and education programs that nurture an early appreciation for the women merely players” Jacques, As art of theatre and the work of William Shakespeare. We teach You like It Shakespeare through performance in order to enhance understanding of language arts, Renaissance history and theatre performance. Sonnet ShakeUP is a writing workshop offered to prepare students for participation - in the Festival’s 2013 sonnet contest. Two teaching artists will present a choral arrangement based on one of Shakespeare’s sonnets and give an interactive overview H a of the festival’s 2013 play As You Like It. The elements of how to write a sonnet will m be presented. Teachers will receive all of the preparation materials needed to enter l their students in our sonnet competition. e Grades: 4-12 t “Can one desire too much of a good thing?” Rosalind, As You Like It Pre-Class Activities Read a summary of the plot of As You Like It and then list the characters. Give students a card with a character on it. This card should have the character’s name and some descriptive words about the character (see below). Have each student create a character collage by cutting out images from magazines and gluing them on paper. They may include words they cut out as well. -
Renaissance Poetry Shakespearean Sonnets: 18, 29, 116, 130 Directions: Read the Following Shakespearean Sonnet
Name: Renaissance Poetry Shakespearean Sonnets: 18, 29, 116, 130 Directions: Read the following Shakespearean Sonnet. Mark the rhyme scheme next to the line of the poem. Then answer the questions below. SONNET 18 Shall I compare thee to a summer's day? Thou art more lovely and more temperate: Rough winds do shake the darling buds of May, And summer's lease hath all too short a date: Sometime too hot the eye of heaven shines, And often is his gold complexion dimm'd; And every fair from fair sometime declines, By chance or nature's changing course untrimm'd; But thy eternal summer shall not fade Nor lose possession of that fair thou owest; Nor shall Death brag thou wander'st in his shade, When in eternal lines to time thou growest: So long as men can breathe or eyes can see, So long lives this and this gives life to thee. 1. What is being described in each section of the poem? st 1 Quatrain nd 2 Quatrain rd 3 Quatrain Couplet 2. Identify literary devices in the poem. You can put the line number and type of device. _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ 3. What idea is the author trying to convey? ______________________________________________________________________________________ ______________________________________________________________________________________ -
SUGGESTED SONNETS 2015 / 2016 Season the English-Speaking Union National Shakespeare Competition INDEX of SUGGESTED SONNETS
SUGGESTED SONNETS 2015 / 2016 Season The English-Speaking Union National Shakespeare Competition INDEX OF SUGGESTED SONNETS Below is a list of suggested sonnets for recitation in the ESU National Shakespeare Competition. Sonnet First Line Pg. Sonnet First Line Pg. 2 When forty winters shall besiege thy brow 1 76 Why is my verse so barren of new pride 28 8 Music to hear, why hear’st thou music sadly? 2 78 So oft have I invok’d thee for my muse 29 10 For shame deny that thou bear’st love to any, 3 83 I never saw that you did painting need 30 12 When I do count the clock that tells the time 4 90 Then hate me when thou wilt, if ever, now, 31 14 Not from the stars do I my judgment pluck, 5 91 Some glory in their birth, some in their skill, 32 15 When I consider everything that grows 6 97 How like a winter hath my absence been 33 17 Who will believe my verse in time to come 7 102 My love is strengthened, though more weak… 34 18 Shall I compare thee to a summer’s day? 8 104 To me, fair friend, you never can be old, 35 20 A woman’s face with Nature’s own hand painted 9 113 Since I left you, mine eye is in my mind, 36 23 As an unperfect actor on the stage 10 116 Let me not to the marriage of true minds 37 27 Weary with toil, I haste me to my bed, 11 120 That you were once unkind befriends me now, 38 29 When in disgrace with fortune and men’s eyes 12 121 ’Tis better to be vile than vile esteemed, 39 30 When to the sessions of sweet silent thought 13 124 If my dear love were but the child of state, 40 34 Why didst thou promise such a beauteous day 14 126 O thou, my lovely boy, who in thy power 41 40 Take all my loves, my love, yea, take them all. -
Sonnets! Finale Event on Tuesday, October 20, 2020 at 6:30 P.M
SONNET TEXT FOR THINKING SHAKESPEARE LIVE: SONNETS! FINALE EVENT ON TUESDAY, OCTOBER 20, 2020 AT 6:30 P.M. PDT SONNET 18 Shall I compare thee to a summer’s day? Thou art more lovely and more temperate: Rough winds do shake the darling buds of May, And summer’s lease hath all too short a date: Sometime too hot the eye of heaven shines, And often is his gold complexion dimmed; And every fair from fair sometime declines, By chance, or nature’s changing course, untrimmed: But thy eternal summer shall not fade, Nor lose possession of that fair thou ow’st, Nor shall death brag thou wander’st in his shade When in eternal lines to time thou grow’st: So long as men can breathe or eyes can see, So long lives this, and this gives life to thee. SONNET 138 When my love swears that she is made of truth, I do believe her, though I know she lies, That she might think me some untutored youth Unlearned in the world’s false subtleties. Thus vainly thinking that she thinks me young, Although she knows my days are past the best, Simply I credit her false-speaking tongue; On both sides thus is simple truth suppressed. But wherefore says she not she is unjust? And wherefore say not I that I am old? O love’s best habit is in seeming trust, And age in love loves not t’have years told: Therefore I lie with her, and she with me, And in our faults by lies we flattered be.