An Evaluative Annotation of Shakespeare's Sonnet to Detect Irony and a Comparison 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. -
Proem Shakespeare S 'Plaies and Poems"
Proem Shakespeare s 'Plaies and Poems" In 1640, the publisher John Benson presents to his English reading public a Shakespeare who is now largely lost to us: the national author of poems and plays. By printing his modest octavo edition of the Poems: Written By Wil. Shake-speare. Gent., Benson curiously aims to complement the 1623 printing venture of Shakespeare's theatre colleagues, John Heminge and Henry Condell , who had presented Mr. William Shakespeares Comedies, Histories, & Tragedies in their monumental First Folio. Thus, in his own Dedicatory Epistle "To the Reader," Benson remarks that he presents "some excellent and sweetly composed Poems," which "had nor the fortune by reason of their lnfancie in his death, to have the due accommodation of proportionable glory, with the rest of his everliving Workes" (*2r). Indeed, as recent scholarship demonstrates, Benson boldly prints his octavo Poems on the model ofHeminge and Condell 's Folio Plays. ' Nor simply does Benson's volume share its primer, Thomas Cores, wirh rhe 1632 Folio, bur both editions begin with an identical format: an engraved portrait of the author; a dedicatory epistle "To the Reader"; and a set of commendatory verses, with Leonard Digges contributing an impor tant celebratory poem to both volumes. Benson's engraving by William Marshall even derives from the famous Martin Droeshout engraving in the First Folio, and six of the eight lines beneath Benson's engraving are borrowed from Ben Jonson's famed memorial poem to Shakespeare in char volume. Accordingly, Benson rakes his publishing goal from Heminge and Conde!!. They aim to "keepe the memory of such worthy a Friend, & Fellow alive" (Dedicatory Epistle to the earls ofPembroke and Montgomery, reprinted in Riverside, 94), while he aims "to be serviceable for the con tinuance of glory to the deserved Author" ("To the Reader," *2v). -
Jennings on the Trail of Pessoa Or Dimensions of Poetical Music
Jennings on the Trail of Pessoa or dimensions of poetical music Pedro Marques* Keywords Fernando Pessoa, Hubert Jennings, Roy Campbell, Peter Rickart, translation, versification, musicality, The thing that hurts and wrings, What grieves me is not, What saddens me is not. Abstract Here we present two unpublished essays by Hubert Jennings about the challenges of translating the poetry of Fernando Pessoa: the first one of them, brief and fragmentary, is analyzed in the introduction; the second, longer and also covering issues besides translation, is presented in the postscript. Having as a starting point the Pessoan poem “O que me doe” and three translations compared by Hubert Jennings, this presentation examines some aspects of poetic musicality in the Portuguese language: verse measurement, stress dynamics, rhymes, anaphors, and parallelisms. The introduction also discusses how much the English versions of the poem, which are presented by Jennings, recreate (or not) the musical-poetic dimensions of the original text. Palavras-chave Fernando Pessoa, Hubert Jennings, Roy Campbell, Peter Rickart, tradução, versificação, musicalidade, O que me doe, O que me dói. Resumo Reproduzem-se aqui dois ensaios inéditos de Hubert Jennings sobre os desafios de se traduzir a poesia de Fernando Pessoa: o primeiro deles, breve e fragmentário, é analisado numa introdução; o segundo, mais longo e versando também sobre questões alheias à tradução, é apresentado em postscriptum. A partir do poema pessoano “O que me dói” e de três traduções comparadas por Hubert Jennings, esta apresentação enfoca alguns aspectos da música poética em língua portuguesa: medida do verso, dinâmica dos acentos, rimas, anáforas e paralelismos. -
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. -
Lyric Poetry :- the Sonnet
By Dr. Anita Singh, Dept of English, For Part – 1 English Hons. LYRIC POETRY :- Lyric poetry is a formal type of poetry which expresses personal emotions or feelings, typically spoken in the first person. It is not equivalent to song lyrics, though they are often in the lyric mode. Lyric poetry expresses personal emotions or thoughts of the speaker, just like the songs of today. Also, just like songs, lyric poems always have a musical quality, or a specific melody which makes it easy for you to sing along with. The term 'lyric poetry' actually comes from the ancient Greek word lyre, which refers to the instrument in that era that accompanied the reading of the lyric poem. Almost like the first version of a live concert. Lyric poetry, for the most part, is short and written in first-person point of view. There is always some specific mood or emotion being expressed. Often that mood is about the extremes in life, mostly love or death or some other intense emotional experience. No matter the theme, though, all lyric poems are known for brevity, emotional intensity and musical quality. There are many types of lyric poems, each with their own format and purpose. Let's take a look at some. THE SONNET One type of lyric poem is the sonnet. Overall, sonnets have 14 lines usually written in iambic pentameter, which is five pairs of stressed and unstressed syllables. This overall structure of predetermined syllables and rhyme makes sonnets flow off your tongue in a similar way that a song on the radio does. -
How to Read a Sonnet Two Quatrains Is the Octave; the by a Couplet, As in WS 73 Last Six Lines Is the Sestet
Download this brochure as a PDF from VernBarnet.com 4 pages EXTERNAL SCAFFOLDING INTERNAL STRUCTURES (apart from meaning) (pattern of meaning) he “English” or Shakespearean” Within the external sonnet form, T sonnet consists of 14 lines of William Shakespeare (WS) draws iambic pentameter (you can easily his themes in various ways. speak one line in one breath) with the line end-rimes in a pattern of A. The same idea is pre- sented in three quatrains, abab-cdcd : efef-gg. Each set of four lines is a quatrain and the last two each with a different meta- lines are called a couplet, indented phor, a different angle on How to Read a Sonnet in Shakepeare’s Sonnets. The first the same theme, followed two quatrains is the octave; the by a couplet, as in WS 73 last six lines is the sestet. (dying day, dying year, in Shakespearean form An iamb is a set of two syllables dying fire, love now) and the first of which is unstressed and my 30. which means reading aloud the second stressed. Pentameter is B. The octave presents a a line of five feet. (A unit of rhythm in poetry is called a foot from po- theme, the third quatrain T summarizes it, and the cou- etry’s early association with dance; a line of poetry is like a measure of plet condenses it once again, as in WS 55 (you live in my T music.) Thus a line of iambic pen- tameter sounds lines) and my 15. T da DUM da DUM da DUM da DUM da DUM. -
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 -
The Subversive Nature of the Dark Lady Sonnets: a Reading of Sonnets 129 and 144
Annali di Ca’ Foscari. Serie occidentale [online] ISSN 2499-1562 Vol. 49 – Settembre 2015 [print] ISSN 2499-2232 «My Female Evil» The Subversive Nature of the Dark Lady Sonnets: a Reading of Sonnets 129 and 144 Camilla Caporicci (Ludwig-Maximilians-Universität, München, Deutschland) Abstract Shakespeare’s opposition towards some aspects of Stoic and Neoplatonic doctrines and religious fanaticism, particularly Puritanism, can be found in many of his plays. However, rather than focusing on the dramatic output, this essay will concentrate on Shakespeare’s Sonnets. The strongly subversive nature of the Dark Lady section is especially notable, although modern critical opinion is generally less inclined to acknowledge its subversive philosophical message because of the supposedly more ‘personal’ nature of lyrical expression compared to the dramatic. In fact, critics have generally chosen to focus their attention on the Fair Youth section, more or less intentionally ignoring the Sonnets’ second part, summarily dismissed as an example of parodic inversion of the Petrarchan model, thus avoiding an examination of its profound revolutionary character, that is – an implicit rejection of the Christian and Neo-platonic basis of the sonnet tradi- tion. Through a close reading of two highly meaningful sonnets, this essay will show that, in the poems dedicated to the Dark Lady, Shakespeare calls into question, through clear terminological reference, the very foundations of Christian and Neo-platonic thought – such as the dichotomous nature of creation, the supremacy of the soul over the body, the conception of sin et cetera – in order to show their internal inconsistencies, and to propose instead a new ontological paradigm, based on materialistic and Epicurean principles, that proclaims reality to consist of an indissoluble union of spirit and matter. -
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. -
The Integrity of a Shakespeare Sonnet L
CHAPTER I THE INTEGRITY OF A SHAKESPEARE SONNET L. C. Knights has described Shake-speares Sonnets as "a miscellane- ous collection of poems, written at different times, for different purposes, and with very different degrees of poetic intensity."' This means, as Knights perfectly understood, that whereas each individual sonnet is a dis- cernible product of Shakespeare's art, the collection taken as a whole is not;* or, to focus this more sharply, that the poet's artistic responsibility be- gins and ends within the bounds of each sonnet. The separate sonnets reflect upon one another, of course, just as Shakespeare's separate plays do; and, again as in the case of the plays, Shakespeare has sometimes suggested sub- stantial links between different ones of them. The formal and expressive outlines of the individual sonnets are emphatic, however, and, as this chap- ter will argue, decisive. "The first necessity of criticism" is then, as Knights pointed out, "to assess each poem independently on its own merits.'" Knights's position is enhanced by a valuable observation recently made by Stephen Booth that "most of the sonnets become decreasingly complex as they proceed."-' As a "token demonstration" of their decreasing figurative complexity, Booth cites the fact that the conventional figure of time or death as an old man makes six of its seven appearances in the whole collection either within a third quatrain or a couplet; his individual discussions of Sonnets 12, 60, and 73 provide examples of more general poetic decline. Testimony for Booth's observation-and for Knights's point-is supplied by G. -
Saudi Journal of Humanities and Social Sciences (SJHSS) ISSN 2415-6256 (Print) a Stylistic Approach of William Shakespeare's
Saudi Journal of Humanities and Social Sciences (SJHSS) ISSN 2415-6256 (Print) Scholars Middle East Publishers ISSN 2415-6248 (Online) Dubai, United Arab Emirates Website: http://scholarsmepub.com/ A Stylistic Approach of William Shakespeare’s “SONNET 138” Most Farhana Jannat* Lecturer, Department of English Bangladesh University of Professionals, Mirpur Cantonment, Dhaka, Bangladesh Abstract: This paper aims to analyze the sonnet 138 written by William *Corresponding author Shakespeare from a stylistic point of view. The division of Shakespeare‟s sonnets Most Farhana Jannat is shown. A short introduction to both style and stylistics in literature are written. For further facilitation, a short introduction to Shakespeare, the sonnet 138 and its Article History themes are given. The stylistic analysis of the sonnet is shown from four sides. Received: 23.11.2017 Graphological, grammatical, phonological and lexical analyses are shown. This Accepted: 04.12.2017 paper will help to understand the structure and style of Shakespeare‟s sonnet Published: 30.12.2017 number 138. Moreover, the themes and ideals of Shakespeare will also be understood. DOI: Keywords: Sonnet, style, stylistic, graphological analysis, lexical analysis, 10.21276/sjhss.2017.2.12.1 grammatical analysis, phonological analysis, Shakespeare INTRODUCTION William Shakespeare is well known worldwide for his 154 sonnets. The critics believe that, among them, the first 1-126 is about the Fair Youth or the Earl of Southampton while the rest of the sonnets are written about the dark lady. Sonnet 138, among all the other sonnets in the sequence, is one of the most well- known sonnets. In this particular sonnet, the poet continues in his quest of self- criticism but mixes it with a unique love for the dark lady.