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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. -
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. -
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. -
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. -
Shakespeare's Sonnets the Complete Guide
Shakespeare's Sonnets The Complete Guide PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Wed, 12 Jan 2011 15:37:45 UTC Contents Articles Shakespeare's sonnets 1 Introduction 9 Petrarch's and Shakespeare's Sonnets 9 Dedication and Characters 15 Henry Wriothesley, 3rd Earl of Southampton 15 Sexuality of William Shakespeare 21 Emilia Lanier 25 Mary Fitton 31 Rival Poet 33 The Sonnets 35 Procreation sonnets 35 Sonnet 1 35 Sonnet 2 37 Sonnet 3 38 Sonnet 4 39 Sonnet 5 41 Sonnet 6 42 Sonnet 7 43 Sonnet 8 47 Sonnet 9 48 Sonnet 10 50 Sonnet 11 51 Sonnet 12 52 Sonnet 13 54 Sonnet 14 55 Sonnet 15 57 Sonnet 16 58 Sonnet 17 60 Sonnet 18 62 Sonnet 19 65 Sonnet 20 67 Sonnet 21 70 Sonnet 22 72 Sonnet 23 74 Sonnet 24 76 Sonnet 25 78 Sonnet 26 80 Sonnet 27 82 Sonnet 28 83 Sonnet 29 84 Sonnet 30 89 Sonnet 31 92 Sonnet 32 93 Sonnet 33 94 Sonnet 34 96 Sonnet 35 98 Sonnet 36 102 Sonnet 37 106 Sonnet 38 107 Sonnet 39 108 Sonnet 40 109 Sonnet 41 111 Sonnet 42 112 Sonnet 43 114 Sonnet 44 116 Sonnet 45 117 Sonnet 46 118 Sonnet 47 121 Sonnet 48 122 Sonnet 49 123 Sonnet 50 124 Sonnet 51 125 Sonnet 52 126 Sonnet 53 127 Sonnet 54 130 Sonnet 55 134 Sonnet 56 136 Sonnet 57 137 Sonnet 58 138 Sonnet 59 140 Sonnet 60 146 Sonnet 61 150 Sonnet 62 151 Sonnet 63 153 Sonnet 64 154 Sonnet 65 159 Sonnet 66 162 Sonnet 67 163 Sonnet 68 164 Sonnet 69 165 Sonnet 70 166 Sonnet 71 167 Sonnet 72 168 Sonnet 73 169 Sonnet 74 173 Sonnet 75 174 Sonnet 76 175 Sonnet 77 176 Sonnet 78 177 Sonnet 79 178 Sonnet 80 179 -
"Undivided Loves": Coordination and Coherence in Shakespeare's Sonnets Jay Curlin Ouachita Baptist University, [email protected]
Ouachita Baptist University Scholarly Commons @ Ouachita Articles Faculty Publications Spring 1999 "Undivided Loves": Coordination and Coherence in Shakespeare's Sonnets Jay Curlin Ouachita Baptist University, [email protected] Follow this and additional works at: https://scholarlycommons.obu.edu/articles Part of the Literature in English, British Isles Commons Recommended Citation Curlin, Jay, ""Undivided Loves": Coordination and Coherence in Shakespeare's Sonnets" (1999). Articles. 130. https://scholarlycommons.obu.edu/articles/130 This Article is brought to you for free and open access by the Faculty Publications at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Articles by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. "Undivided loves": Coordtnalion and Coherence in Shakespeare's Sonnels Let me confess that we two must be twain, Although our undivided loves are one. (Sonnet 36) The reader of touay is generally accustomed to thinking of the sonnets of William Shakespeare as isolated, independent lyric poems. While anthologies have certainly kept alive something of Shakespeare's memory as a writer of nondramatic verse, doing their part to ensure that, "so long as men can breathe or eyes can see," at least certain of his more famous sonnets will continue to live, they have also tended to strengthen the perception that one should approach Shakespeare's sonnets individually, with little sense of any larger context of which they might be a part. Indeed, it has been suggested that those of Shakespeare's sonnets that have been made popular to a general audience by their regular inclusion in anthologies are precisely those that can be most easily severed from the sequence, and that those that bear clear traces of having been taken from a sequence have no hope of ever achiev ing the more permanent renown of an "anthology piece" (Crossman 481). -
Sounds of the Sonnet Lesson/ Movement and Poetry
National Poetry Month Lesson: Sounds of the Sonnet Introduction "Pleasure" is probably not the first word that springs to the mind of a high school student required to study rhyme schemes, iambic pentameter, enjambment, quatrains, and epigrammatic couplets. While teaching some of the formal terms used to describe sonnets will be one of the aims of this lesson, our starting point and central focus throughout will be learning to appreciate the sounds of poetry. For it is in sound--and in the subtle interplay of sound and form and meaning--that much of the pleasure of poetry resides. By focusing on the sounds of poetry, the exercises below seek to demonstrate that there is always an underlying sense of form or structure at work in language, whether we happen to know the names for the formal elements of poetry or not. At the heart of the lesson are its seven sound experiments, designed to help students understand how form, meter, and rhythm all combine to shape our experience of poetry, and the meanings we derive from it. After some preliminary sound experiments with Lewis Carroll's nonsense poem, "Jabberwocky," we turn to Shakespeare's Sonnet 29, a model of how the sonnet form, with its dense knitting together of sound and meaning, can suggest an astonishing variety of emotional effects. In the capstone activity, sound experiment 7, students choose a sonnet from the Sonnet Bank, a collection of links to online sonnets, organized into historical periods from Elizabethan England to Twentieth Century America, and drawn from a diverse group of well- and lesser-known writers. -
Aesthetics in William Shakespeare's Sonnets
Vol. 4(8), pp. 398-403, October, 2013 DOI: 10.5897/IJEL2013.0479 International Journal of English and Literature ISSN 2141-2626 ©2013 Academic Journals http://www.academicjournals.org/IJEL Full Length Research Paper Aesthetics in William Shakespeare's Sonnets Maryam Ebrahimi* and Bahman Zarrinjooee Department of English Literature and Language, Islamic Azad University of Boroujerd, Iran. Accepted 30 August, 2013 This study focuses on aesthetics in William Shakespeare's sonnets. It shows the dominant aesthetic aspects of the sonnets. It uses theories of intertextuality and semiotics in terms of aesthetics. Study of theories of Roman Jakobson (1896-1982) and Roland Barthes (1915-1980) regarding semiotics in Shakespeare's sonnets shows metaphors of the sonnets as aesthetic signs. This study presents how metaphors of signs are aesthetic metaphors in the sonnets in order to create beautiful sonnets. Furthermore, this study is concerned with studying lyrical imageries and epic imageries as intertextuality and aesthetics in Shakespeare's sonnets. Theories of Mikhail Bakhtin (1895-1975), Julia Kristeva (1941), and Roland Barthes concerning intertextuality are used in order to disclose multiplicity of meanings and interpretations in Shakespeare's sonnets. Therefore, this study reveals these signs as intertext from past to Shakespeare's period in the sonnets. It presents that Shakespeare chose signs from many previous sources, and modified and combined them as aesthetic and intertextual signs. Therefore, Shakespeare's sonnets are intertexts, as a place of the intersection of several sources and the mixture of preceding texts and signs. All metaphorical, lyrical, and epic imageries show the beautification and aesthetic form of Shakespearean sonnets. -
John Donne's Poetic Diction Kentaro Kimura
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by NCU Repository John Donne's Poetic Diction Kentaro Kimura 要 旨 本 論文 の 目的 は 、イ ギ リス を代表す る詩 人 の一人 で ある ジ ョン ・ダ ン(John Donne) の語 彙 に関す る傾 向を分析 す る こ とで あ る。 その ために語彙 構成 を語 源的観 点 か ら分類 す る こ とが主 な作業 となる。 英語 語 彙の歴 史的 特性 は 、ゲルマ ン系 語彙 の基礎 の上 に、古典 語 系 の語彙 が 大 き く重な り重層性 をな してい る こ とに ある。 この二重構 造 の語 彙の使 用法 が、 ダ ンにおい て どの よ うな表現 上の 効果 を示 して い るか を分析 した。 調査 の方 法 と して 、い くつか 重要 な作 品 を選択 し、それ ぞれ の詩 にお ける単語 の語源 の数 を調 べ、 その比 率求 めた。調 査 の結果 、一 般的 な語彙 の傾 向にお い て、 ダンは古典 語系 の言 葉 を多 く用 い るがあ る こ と、又 、各 々の詩 に よ り比 率が大 き く異 な る こ とが明 らか とな った。 ゲル マ ン語 系の言 葉 が多用 され る 「Break of Day」、反 対 に古 典語 系の言 葉 が多用 され る 「Holy Sonnet 9」な どの詩 を分析 す るこ とに よ り、彼 が詩 の 内容 に適 応 させ 語彙 と文体 を変 化 させ て い るこ とが示 され る。 彼 は言葉 の特徴 を語源 に 関わ らず最 大限 に利 用 す る ことに興 味を持 ち、彼 の詩 にお け る独 特 の特徴 であ るコ ンシー トの詩的効 果 を生 み出す た めに、言葉 の特 徴 を十分 に吟 味 し、選 択 してい るの であ る。 1. -
Annihilation of the Self in the Sonnet
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Supervised Undergraduate Student Research Chancellor’s Honors Program Projects and Creative Work Summer 5-2009 Annihilation of the Self in the Sonnet Jessica Noel Gilles University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_chanhonoproj Recommended Citation Gilles, Jessica Noel, "Annihilation of the Self in the Sonnet" (2009). Chancellor’s Honors Program Projects. https://trace.tennessee.edu/utk_chanhonoproj/1276 This is brought to you for free and open access by the Supervised Undergraduate Student Research and Creative Work at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Chancellor’s Honors Program Projects by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. Annihilation of the Self in the Sonnet: Shakespeare’s Mastery of the Relationship between Love and Death Jessica Gilles April 20, 2009 Chancellor’s Honors Program: Senior Project Undergraduate English Honors Thesis Gilles 1 I Introduction By the Lord, this love is as mad as Ajax, it kills sheep, it kills me, I a sheep— well proved again o’ my side. I will not love. If I do, hang me; I’ faith, I will not. O, but her eye! By this light, but for her eye I would not love her. Yes, for her two eyes. Well, I do nothing in the world but lie, and lie in my throat. By heaven, I do love, and it hath taught me to rhyme and to be melancholy, and here [showing a paper] is part of my rhyme, and here [touching his breast] my melancholy. -
Critical Analysis of Shakespeare Sonnets
July IJPSS Volume 2, Issue 7 ISSN: 2249-5894 2012 _________________________________________________________ CRITICAL ANALYSIS OF SHAKESPEARE SONNETS B.RAMBABU* P.S.R.CH.L.V.Prasad* __________________________________________________________ INTRODUCTION: William Shakespeare was born to John Shakespeare and mother Mary Arden some time in late April 1564 in Stratford-upon-Avon. There is no record of his birth, but his baptism was recorded by the church, thus his birthday is assumed to be the 23 of April. His father was a prominent and prosperous alderman in the town of Stratford-upon-Avon, and was later granted a coat of arms by the College of Heralds. All that is known of Shakespeare's youth is that he presumably attended the Stratford Grammar School, and did not proceed to Oxford or Cambridge. The next record we have of him is his marriage to Anne Hathaway in 1582. The next year she bore a daughter for him, Susanna, followed by the twins Judith and Hamnet two years later. Seven years later Shakespeare is recognized as an actor, poet and playwright, when a rival playwright, Robert Greene, refers to him as "an upstart crow" in A Groatsworth of Wit. A few years later he joined up with one of the most successful acting troupe's in London: The Lord Chamberlain's Men. When, in 1599, the troupe lost the lease of the theatre where they performed, (appropriately called The Theatre) they were wealthy enough to build their own theatre across the Thames, south of London, which they called "The Globe." The new theatre opened in July of 1599, built from the timbers of The Theatre, with the motto "Totus mundus agit histrionem" (A whole world of players) When James I came to the throne (1603) the troupe was designated by the new king as the King's Men (or King's Company). -
Donne, Herbert, and Milton Ryken U.S
WE’VE ALL HEARD ABOUT THE CLASSICS and assume they’re THE DEVOTIONAL POETRY OF POETRY THE DEVOTIONAL great. Some of us have even read them on our own. But for those of us who remain a bit intimidated or simply want to get more out of our reading, Crossway’s Christian Guides to the Classics are here to help. In these short guidebooks, popular professor, author, and literary CHRISTIAN GUIDES expert Leland Ryken takes you through some of the greatest TO THE CLASSICS literature in history while answering your questions along the way. EACH BOOK: • Includes an introduction to the • Contains discussion questions at author and work the end of each unit of the text • Explains the cultural context • Lists resources for further study • Incorporates published criticism • Evaluates the classic text from a AND MILTON DONNE, HERBERT, • Defines eyk literary terms Christian worldview This volume leads readers through the devotional poetry of three seventeenth-century poetic geniuses: John Donne, George Herbert, and John Milton. THE DEVOTIONAL POETRY OF DONNE, HERBERT, “Ryken combines scholarly acumen and Christian faith with crystal-clear style in a way that virtually guarantees no one will wander off trail.” AND MILTON TODD A. WILSON, Senior Pastor, Calvary Memorial Church, Oak Park, Illinois “In an age when many elite universities have moved away from the classics, this series will help refocus students and teachers on the essential works of the canon.” LOUIS MARKOS, Professor in English, Scholar in Residence, and Robert H. Ray Chair in Humanities, Houston Baptist University RYKEN LELAND RYKEN (PhD, University of Oregon) served as professor of English at Wheaton College for over 45 years and has authored or edited nearly 40 books.