Exploring Shakespeare's Sonnets with SPARSAR
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Booklet Shakespeare 3
SONNET 1 From fairest creatures we desire increase, That thereby beauty’s rose might never die, But as the riper should by time decease, His tender heir might bear his memory: But thou, contracted to thine own bright eyes, Feed’st thy light’st flame with self-substantial fuel, Making a famine where abundance lies, Thyself thy foe, to thy sweet self too cruel. Thou that art now the world’s fresh ornament And only herald to the gaudy spring, Within thine own bud buriest thy content And, tender churl, makest waste in niggarding. Pity the world, or else this glutton be, To eat the world’s due, by the grave and thee. 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. SONNET 29 When, in disgrace with fortune and men's eyes, I all alone beweep my outcast state, And trouble deaf heaven with my bootless cries, And look upon myself, and curse my fate, Wishing me like to one more rich in hope, Featur'd like him, like him with friends possess'd, Desiring this man's art and that man's scope, With what I most enjoy contented least; Yet in these thoughts myself almost despising, Haply I think on thee, and then my state, Like to the lark at break of day arising From sullen earth, sings hymns at heaven's gate; For thy sweet love remember'd such wealth brings That then I scorn to change my state with kings. -
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. -
Poetry-II-Teacher-Sample-3Rd-Ed.Pdf
Contents Contents How to Use This Study Guide with the Text & Literature Notebook ......5 Notes & Instructions to Teacher ....................................................................7 Taking With Us What Matters .......................................................................9 Four Stages to the Central One Idea ............................................................13 How to Mark a Book ......................................................................................18 THE ENGLISH RENAISSANCE PERIOD Introduction ................................................................................................... 22 Basic Features & Background ....................................................................... 24 Queen Elizabeth On Monsieur’s Departure ............................................................................. 30 Speech to the Troops at Tilbury ..................................................................... 33 Edmund Spenser – from The Faerie Queene, Canto I ..............................................37 Christopher Marlowe – The Passionate Shepherd to His Love ...............................47 Sir Walter Raleigh – The Nymph’s Reply to the Shepherd .......................................50 Sir Philip Sidney – Sonnet 31 ...............................................................................................54 George Peele – A Farewell to Arms .....................................................................................57 Robert Southwell – The Burning Babe .............................................................................60 -
Zanesville & Western: a Creative Dissertation
ZANESVILLE & WESTERN: A CREATIVE DISSERTATION by Mark Allen Jenkins APPROVED BY SUPERVISORY COMMITTEE: _________________________________________ Dr. Frederick Turner, Co-Chair _________________________________________ Dr. Charles Hatfield, Co-Chair _________________________________________ Dr. Matt Bondurant _________________________________________ Dr. Nils Roemer Copyright 2017 Mark Allen Jenkins All Rights Reserved ZANESVILLE & WESTERN A CREATIVE DISSERTATION by MARK ALLEN JENKINS, BA, MFA DISSERTATION Presented to the Faculty of The University of Texas at Dallas in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY IN HUMANITIES – AESTHETIC STUDIES THE UNIVERSITY OF TEXAS AT DALLAS May 2017 ACKNOWLEDGMENTS There are several significant people to thank in the development, creation, and refining of this dissertation, Zanesville & Western: A Creative Dissertation. Dr. Charles Hatfield supported me throughout the dissertation. His expertise on theoretical framing helped me develop an approach to my topic through a range of texts and disciplines. Dr. Frederick Turner encouraged me to continue and develop narrative elements in my poetry and took a particular interest when I began writing poems about southeastern Ohio. He encouraged me to get to the essence of specific poems through multiple drafts. Dr. Rainer Schulte, Dr. Richard Brettell, and Dr. Nils Roemer were my introduction to The University of Texas at Dallas. Dr. Schulte’s “Interdisciplinary Approaches to the Arts and Humanities” highlighted many of the strengths of our program, and “Crafting Poetry” provided useful insight into my own poetry as well as a thorough introduction international poetry. Dr. Brettell’s “Art and Anarchy” course expounded the idea that poets could be political in their lives and work, both overtly and implicitly. -
Understanding Shakespeare – Sonnets 116 and 130 Grade Ten
2-10th pages 68-257.12 8/6/04 11:41 AM Page 244 Understanding Shakespeare – Sonnets 116 and 130 Grade Ten Skill Focus Levels of Thinking Remember Understand Apply Analyze Close Reading Grammar Composition Close Reading Reading Strategies Types (modes) Inference Expository Paraphrase definition Summary Literary Elements Diction connotation denotation vocabulary Theme Figures of Speech Metaphor Sound Devices Rhyme Rhythm Literary Techniques Irony Literary Forms Verse Materials and Resources • “Sonnet 116” by William Shakespeare • “Sonnet 130” by William Shakespeare Lesson Introduction Even younger students puzzle out much of the meaning of a Shakespearean sonnet and enjoy listening for rhythm and rhyme patterns. This kind of activity helps students become aware of the sound devices an author uses to lend music to a text and to connect meaningful words and phrases through the use of sound. In order to do the first two activities, students will need instruction about what a sonnet is and how it is structured. This information can be provided by the teacher or inferred from a group study of several sonnets and their structure. Iambic pentameter is a meter that consists of repeated patterns of unstressed and stressed syllables. An iamb consists of two syllables, the first unstressed, the second stressed. A pattern of five iambs to a line is called iambic pentameter; for example: /When in/ disgrace/ with for/tune and/ men’s eyes/ I all/ alone/ beweep/ my out/cast state..../ 244 2-10th pages 68-257.12 8/6/04 11:41 AM Page 245 Close Reading In these two lines, every second syllable has a heavier stress than that which precedes it. -
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. -
Death, Be Not Proud POEM TEXT THEMES
Get hundreds more LitCharts at www.litcharts.com Death, be not proud POEM TEXT THEMES 1 Death, be not proud, though some have called thee THE POWERLESSNESS OF DEATH 2 Mighty and dreadful, for thou art not so; In this sonnet, often referred to by its first line or as 3 For those whom thou think'st thou dost overthrow “Holy Sonnet 10,” the speaker directly addresses 4 Die not, poor Death, nor yet canst thou kill me. death, seeking to divest it of its powers and emphasize that 5 From rest and sleep, which but thy pictures be, man, though fated to die, is more powerful than death itself. The poem paints a picture of death as prideful—vain, even—and 6 Much pleasure; then from thee much more must flow, works to deflate death’s importance by arguing firstly that 7 And soonest our best men with thee do go, death is nothing more than a rest, and secondly that following 8 Rest of their bones, and soul's delivery. this rest comes the afterlife, which contradicts death’s aim of 9 Thou art slave to fate, chance, kings, and desperate bringing about a final end. With death’s powerlessness proven men, by the end of the poem, it is death itself, not man, who is going 10 And dost with poison, war, and sickness dwell, to die. 11 And poppy or charms can make us sleep as well The speaker clearly argues against death being treated as 12 And better than thy stroke; why swell'st thou then? something strong and important. -
Shakespeare Sonnets Program
Shakespeare Sonnets Caltech Playreaders, March 16, 2021 Directed by Ann K Lindsey Index: Introductions with Joanne Doyle and Ann Lindsey Part 1 Page 2….. Sonnet 20 sung by John Davidson to Music by Rufus Wainwright Sonnet 128 recited by Greta Davidson Page 3….. Sonnet 8 recited by Diana St James Sonnet 100 recited by Barbie Insua Part 2 Page 4….. Sonnet 105 recited by Cara King Sonnet 143 recited by Diana St James Page 5….. Sonnet 116 recited by Todd Brun Sonnet 25 recited by Carol Elaine Cyr Page 6….. Sonnet 126 recited by Kathryn Bikle Page 7….. Part 3 Hamlet's Soliloquy recited by Tiffany Kim 9 minute pre-taped discussion moderated by Kathryn Bikle Part 4 Page 8…... Sonnet 23 recited by Kathryn Bikle Sonnet 53 recited by Barbie Insua Page 9…... Sonnet 43 recited by Douglas Smith Sonnet 30 recited by Greta Davidson Page 10…. Sonnet 66 recited by Carol Elaine Cyr Part 5 Page 10….. Sonnet 56 recited by Douglas Smith Page 11….. Sonnet 33 recited by Cara King Sonnet 40 sung by Phoebe Kellogg to her original music Page 12….. Sonnet 87 recited by Todd Brun 19 minute pre-taped discussion moderated by Kathryn Bikle Upcoming Caltech Playreaders productions End credits Out-takes Page 2 of 12 Part 1 Sonnet 20 sung by John Davidson A woman's face with nature's own hand painted, Hast thou, the master mistress of my passion; A woman's gentle heart, but not acquainted With shifting change, as is false women's fashion: An eye more bright than theirs, less false in rolling, Gilding the object whereupon it gazeth; A man in hue all hues in his controlling, Which steals men's eyes and women's souls amazeth. -
Sonnet 30 / Sonnet 75
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? 1st Quatrain 2nd Quatrain 3rd 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? ______________________________________________________________________________________ ______________________________________________________________________________________ -
Performing Prayer in Shakespeare's Sonnets
Access Provided by Harvard University at 01/28/13 5:08PM GMT Love’s Rites: Performing Prayer in Shakespeare’s Sonnets R H - Iaddressed to the beloved in Shakespeare’s Sonnets, the poet defends what seems like a penchant for rewriting the same poem over and over. Against the implicit accusations of his beloved, the poet compares his apologia in Sonnet 108 to a kind of spoken prayer, a highly ritualized and publicly performed devo- tional gesture: like prayers diuine, I must each day say ore the very same, Counting no old thing old, thou mine, I thine Euen as when first I hallowed thy faire name. (108.5–8)1 Echoing the beloved’s doubts, he asks whether repeated words have the capacity to express the depth of his love: “What’s new to speake, what now to register, / 6at may expresse my loue, or thy deare merit?” (ll. 3–4). 6ese questions have bothered more than just the poet’s friend. Generations of critics of the Sonnets have shared the beloved’s concern over the repetitive nature of the sequence’s devotional tropes, finding that the blandness of senti- ment betrays a desire that expresses itself “monotheistically, monogamously, monosyllabically, and monotonously.”2 Moreover, the Sonnets’ references to litur- I thank my colleagues at the Renaissance Colloquium at Harvard University for their responses to an earlier version of this essay. In particular, Misha Teramura offered valuable insight about my historical treatment of the antitheatrical tradition. Stephen Greenblatt read a later version of the manuscript in its entirety and clarified and strengthened my argument. -
Computing Poetry
Computing Poetry Rodolfo Delmonte Department of Language Studies & Department of Computer Science Ca’ Foscari University - 30123, Venezia, Italy [email protected] Abstract: We present SPARSAR, a system for the automatic analysis of poetry(and text) style which makes use of NLP tools like tokenizers, sentence splitters, NER (Name Entity Recognition) tools, and taggers. Our system in addition to the tools listed above which aim at obtaining the same results of quantitative linguistics, adds a number of additional tools for syntactic and semantic structural analysis and prosodic modeling. We use a constituency parser to measure the structure of modifiers in NPs; and a dependency mapping of the previous parse to analyse the verbal complex and determine Polarity and Factuality. Another important component of the system is a phonological parser to account for OOVWs, in the process of grapheme to phoneme conversion of the poem. We also measure the prosody of the poem by associating mean durational values in msecs to each syllable from a database and created an algorithm to account for the evaluation of durational values for any possible syllable structure. Eventually we produce six general indices that allow single poems as well as single poets to be compared. These indices include a Semantic Density Index which computes in a wholly new manner the complexity of a text/poem. Keywords: NLP, Sentiment and Affective Analysis, Factuality and Subjectivity Analysis, Prosodic Structure, Semantic and Syntactic Processing, Metrical Structure 1 Introduction We present SPARSAR, a system for poetry (and text) style analysis by means of parameters derived from deep poem (and text) analysis. -
Poetry As Correspondence in Early Modern England
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2017 Unfolding Verse: Poetry As Correspondence In Early Modern England Dianne Marie Mitchell University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Recommended Citation Mitchell, Dianne Marie, "Unfolding Verse: Poetry As Correspondence In Early Modern England" (2017). Publicly Accessible Penn Dissertations. 2477. https://repository.upenn.edu/edissertations/2477 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2477 For more information, please contact [email protected]. Unfolding Verse: Poetry As Correspondence In Early Modern England Abstract This project recovers a forgotten history of Renaissance poetry as mail. At a time when trends in English print publication and manuscript dissemination were making lyric verse more accessible to a reading public than ever before, writers and correspondents created poetic objects designed to reach individual postal recipients. Drawing on extensive archival research, “Unfolding Verse” examines versions of popular poems by John Donne, Ben Jonson, Mary Wroth, and others which look little like “literature.” Rather, these verses bear salutations, addresses, folds, wax seals, and other signs of transmission through the informal postal networks of early modern England. Neither verse letters nor “epistles,” the textual artifacts I call “letter-poems” proclaim their participation in a widespread social