Shakespeare's Sonnets and the Use of Personification Transcript
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Oxford Studies in Ancient Philosophy, (), – at ); M
Offprint from OXFORDSTUDIES INANCIENT PHILOSOPHY EDITOR:BRADINWOOD VOLUMEXLV 3 MORALEDUCATIONAND THESPIRITEDPARTOFTHE SOULINPLATO’S LAWS JOSHUAWILBURN I the tripartite psychological theory of Plato’s Republic, the spir- ited part of the soul, or the thumoeides, is granted a prominent role in moral development: its ‘job’ in the soul is to support and de- fend the practical judgements issued by the reasoning part (par- ticularly against the deleterious influence of the appetitive part), and its effective carrying out of that job is identified with the vir- tue of courage ( –). Early moral education, consequently, is largely concerned with preparing the spirited part of the soul for this role as reason’s ‘ally’. In Plato’s later work the Laws, the the- ory of tripartition is never explicitly advocated: there is no mention of a division of the soul into parts, and hence no discussion of a ‘spirited’ part of the soul with a positive role to play in moral deve- lopment. Not only that, but some of the most conspicuous passages about spirited motivation in the text emphasize its negative impact on our psychology and behaviour. The spirited emotion of anger, for example, is identified as one of the primary causes of criminal behaviour ( ). All this has led many commentators to conclude that in the Laws Plato rejects the tripartite theory of the soul as we know it from the Republic and adopts a new psychological model in its place. Christopher Bobonich, for example, has argued that Plato abandoned the idea of a partitioned soul altogether in the Laws, opting instead for a unitary conception of the soul. -
The Communication of the Emperor's Virtues Author(S): Carlos F
The Communication of the Emperor's Virtues Author(s): Carlos F. Noreña Reviewed work(s): Source: The Journal of Roman Studies, Vol. 91 (2001), pp. 146-168 Published by: Society for the Promotion of Roman Studies Stable URL: http://www.jstor.org/stable/3184774 . Accessed: 01/09/2012 16:45 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Society for the Promotion of Roman Studies is collaborating with JSTOR to digitize, preserve and extend access to The Journal of Roman Studies. http://www.jstor.org THE COMMUNICATION OF THE EMPEROR'S VIRTUES* By CARLOS F. NORENA The Roman emperor served a number of functions within the Roman state. The emperor's public image reflected this diversity. Triumphal processions and imposing state monuments such as Trajan's Column or the Arch of Septimius Severus celebrated the military exploits and martial glory of the emperor. Distributions of grain and coin, public buildings, and spectacle entertainments in the city of Rome all advertised the emperor's patronage of the urban plebs, while imperial rescripts posted in every corner of the Empire stood as so many witnesses to the emperor's conscientious administration of law and justice. -
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. -
Shakespearean Sonnets
Sonnet 130 William Shakespeare My mistress’ eyes are nothing like the sun, 1 Coral is far more red than her lips’ red. If snow be white, why then her breasts are dun, If hairs be wires, black wires grow on her head. I have seen roses damasked, red and white, 5 But no such roses I see in her cheeks. And in some perfumes is there more delight Than in the breath that from my mistress reeks, I love to hear her speak, yet well I know That music hath a far more pleasing sound. 10 I grant I never saw a goddess go, My mistress, when she walks, treads on the ground. And yet, by Heaven, I think my love as rare As any she belied with false compare. 1. In Sonnet 130, what physical characteristics of the mistress are described? What is the overall impression of this woman? 2. How does this poem compare to Sonnet 18? Is his tone different in this sonnet? Explain. 3. Why is the couplet at the end absolutely necessary for the poem to not be misinterpreted? name:________________________________ Directions: Re-read the sonnet and try to paraphrase each quatrain and the closing couplet. As much as possible, try to capture the main idea of each part of the sonnet, using your own words. Shakespeare’s Sonnet 73 1 That time of year thou mayest in me behold When yellow leaves, or none, or few, do hang Upon those boughs which shake against the cold, Bare ruined choirs where late the sweet birds sang. -
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. -
Bodies of Knowledge: the Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2015 Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Geoffrey Shamos University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Shamos, Geoffrey, "Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600" (2015). Publicly Accessible Penn Dissertations. 1128. https://repository.upenn.edu/edissertations/1128 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/1128 For more information, please contact [email protected]. Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Abstract During the second half of the sixteenth century, engraved series of allegorical subjects featuring personified figures flourished for several decades in the Low Countries before falling into disfavor. Designed by the Netherlandsâ?? leading artists and cut by professional engravers, such series were collected primarily by the urban intelligentsia, who appreciated the use of personification for the representation of immaterial concepts and for the transmission of knowledge, both in prints and in public spectacles. The pairing of embodied forms and serial format was particularly well suited to the portrayal of abstract themes with multiple components, such as the Four Elements, Four Seasons, Seven Planets, Five Senses, or Seven Virtues and Seven Vices. While many of the themes had existed prior to their adoption in Netherlandish graphics, their pictorial rendering had rarely been so pervasive or systematic. -
Petrarch (1304-74) Wreath', from Laurus 'Laurel'.] Leaves Are Also Like the Medium of the Poet—L’Aura Put on Paper
Themes: “Love at first sight, obsessive yearning and love sickness, frustration, love as parallel to feudal service; the lady as ideally beautiful, ideally virtuous, miraculous, beloved in Heaven and destined to earthly death; love as virtue, love as idolatry, love as sensuality; the god of love with his arrows, fires, whips, and chains; war within the self—hope, fear, joy, sorrow.” Approaches: “Conceits, wit, urbane cleverness; disputations and scholastic precision; allegory, personification; wooing, exhortation, outcry; praise, blame; self-examination, self-accusation, self- defense; repentance and farewell to love” [from Robert M. Durling’s Petrarch’s Lyric Poems] Laura: Laura was idealized in 366 poems (one for every day of the year) in his Rime Sparse (Scattered Rhymes). Petrarch claimed she was real, but her name, played upon in Italian in the poems, also epitomizes poetic ideals (Laud = praise; L’aura = breath, spirit; L’oro = gold; Laurel = laureate: (n.) a person who is honoured with an award for outstanding creative or intellectual achievement: a Nobel Laureate or Poet Laureate. (adj.) wreathed with laurel as a mark of honor; (of a crown or wreath) consisting of laurel. [ORIGIN: from Latin laureatus, from laurea 'laurel Petrarch (1304-74) wreath', from laurus 'laurel'.] Leaves are also like the medium of the poet—l’aura put on paper. “Daphne and Apollo” Gian Lorenzo Bernini (1622-25) “Daphne and Apollo” J.W. Waterhouse (1908) Apollo and Daphne: Daphne was Apollo's first love. It was not brought about by accident, but by the malice of Cupid. Apollo saw the boy playing with his bow and arrows; and he said to him, "What have you to do with warlike weapons, saucy boy? Leave them for hands worthy of them.” Venus's boy [Cupid] heard these words, and rejoined, "Your arrows may strike all things else, Apollo, but mine shall strike you." So saying, he drew from his quiver two arrows of different workmanship, one to excite love, the other to repel it. -
The Art of Memory and the Allegorical Personification of Justice
The Art of Memory and the Allegorical Personification of Justice Ruth Weisberg It is really intriguing that the figure of Justice has persisted into modem times, an almost singular survival from an earlier period in which allegorical personifications were commonplace. And just what is an "allegorical personification"? Although we may be familiar with allegory as a representation of an abstract idea or concept usually involving humans or animals, we tend to be less knowledgeable in regard to allegory as a system of complex visual signs. Figures such as Justice have traditionally been accompanied by significant props or material attributes that identified them and elucidated their meaning. They were part of a vast array of embodiments or personifications that served multiple purposes, the most important of which was the organization of an elaborate conceptual system of values. More specifically, Justice, traditionally grouped with the Cardinal Virtues, originated in ancient Greece. The Cardinal Virtues typically consisted of Justice, Prudence, Fortitude, and Temperance, all of which had their accompanying attributes. For example, Fortitude might be depicted escorted by a lion or embracing a broken column and Temperance often holds a bridle. While certain of these props are unvarying, there was significant leeway in the choice of attributes over the centuries. E.H. Gombrich writes of the customary way of constructing an allegorical personification in which "an image or a concept can be explicated by means of attributes and it is really a matter of taste or tact how far the poet or artist wishes to go in piling up these specifications, how many attributes he wants to give Prudence to match her definition."' * Professor, Roski School of Fine Arts, University of Southern California. -
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 . -
Translating Shakespeare's Sonnets
Translating Shakespeare’s Sonnets San Beda University Carissa C. Cabaysa, M.A. Abstract: This paper presents a set of translations for Shakespeare’s sonnets which are expressive of thoughts and emotions on human mortality. The translations, which focus on meaning rather than structure, are based on scholars’ discussions of denotations and connotations. The discussions include how Shakespeare’s Sonnets... Translating the versification or metrical structure and cultural context of the sonnets affect meaning. This is meant to produce the so-called “equivalent effect” which is explained below. Keywords: Interlingual translation, equivalent effect, Shakespeare sonnets, versification, translation Introduction T he concept of translation relates to diversified language structures, changing lexical meanings, and evolving cultural perspectives. In both intralingual and interlingual translation, equivalence of meanings proves complicated. Synonyms carry meanings that are similar but not equal and words express connotations. In interlingual translation, differences between languages in terms of words, grammar, actual language use, and word meaning associations complicate the translation process. Differences in gender perspectives attached to both concrete and abstract concepts confuse a translator whose cultural orientation differs from that of a text being translated. In translating Shakespeare’s sonnets, an inquiry into meanings is required due not only to linguistic and cultural, but also to chronological distance. Meanings that existed in the past may have Creatingchanged or an may Equivalent no longer Effect exist. in Translation Translation can be formally or dynamically oriented. While the former aims at accuracy and correctness of the message delivered by a translation based on the source text, the latter aims at an 123 “equivalent effect” (Rieu & Phillips in Eugene Nida 126-128). -
Shakespeare's Sonnet 73 Kenjigo(郷 健治) Form
10 Shakespeare's Sonnet 73 - An Empsonian Approach - KenjiGo(郷 健治) In this paper I will examine Shakespeare's Sonnet paid too little a比ention to questions of autborial aim and 73 by means of verbalanalys】s in an attempt to arrive at literary and historical relevance.わ`3' The adverse a fuller comprehension, and hence appreciation, of the criticisms against Ambiguib7 may be summarized by the poem. For the followlng analysis I am indebted to two following quotation from Empson's own remarks: analytical concep110nS propounded by W.G. Ingram and William Empson: namely, the "movement" inside the The argument which seems to me strongest, in sonnet fo∞ and "ambigulty". these literary critics who say that Empson is absurd, W.G. lngram, who edited Shakespeare's Sofmeis is that they say the overall effect of a piece Of (London, 1964) with T. Redpath, discusses the wntlng, the genera一 intention of the autilOr, is what "Shakespearean quality" of the Sonnets as follows: decides what you make of a particular line. The critic mustn't pick on one line and get astonishingly In studies of the Sonnets we naturally find i汀elevant meanlngS Out Of it, because that isn't what attention directed to their imagery; but the interest anybody does if he is reading properly・`4' has been largely thematic. Its effect on structure and on what I will calユ Hmovement" inside the sonnet This sort of criticism, I agree, might well be pertinent to form - on the nature of the thought progression that some of Empson'Sanalyses in his Ambigui&. In my modifies contenトpattem - has received but limited analysュs Of Sonnet 73, however, I will attempt to notice. -
Appearance, Perception, and Non-Rational Belief
Created on 19 July 2014 at 16.28 hours page 81 APPEARANCE,PERCEPTION, ANDNON-RATIONALBELIEF: REPUBLIC 602–603 DAMIENSTOREY I a passage of book of the Republic, – , Plato offers a new argument for the claim that the soul consists of parts. The ar- gument has the same basic structure as the well-known arguments for the division of the soul in book : Socrates draws our attention to an example of opposition in the soul, appeals to the ‘Principle of Opposites’—that the same thing cannot do or undergo opposites at the same time and in relation to the same thing ( –; –)—and concludes that different parts of the soul are responsible for each side of this opposition. However, while structurally simi- lar, the arguments consider entirely different kinds of conflict. The arguments in book begin with the widely accepted assumption that motivational conflict can occur: at the same time both desiring to do and desiring not to do the same thing. The argument in book , in contrast, centres on a more surprising kind of conflict: at the same time both believing and disbelieving the same thing. It is generally thought that, unlike desire, reason abhors contra- dictions: we can, and often do, hold conflicting beliefs unwittingly, but as soon as we notice such a conflict we are compelled to resolve it immediately. The argument of – , however, requires us to accept that in certain situations we knowingly hold, at the same time, beliefs (doxai) that contradict, with no avenue for resolution. We would hope to find a considerable attempt to make this plau- sible, but instead Socrates simply points to encounters with visual illusions as putative examples of the kind of cognitive conflict he has in mind: for example, believing a stick is straight but, at the same time, the opposite appearing to be the case because the stick is partially immersed in water.