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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. -
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. -
Shakespeare, the Fair Young Man and the Dark Lady
Högskolan Dalarna English C Literature Essay Supervisors: Elizabeth Kella, Irene Gilsenan-Nordin Breaking the Conventions: Shakespeare, the Fair Young Man and the Dark Lady VS Autumn 2005 30th March 2006 Artyom Kulagin Box 166 SE-177 23 JÄRFÄLLA E-Mail: [email protected] 1 Table of Contents 1. Introduction………………………………………………………………….....2 2. Petrarch Versus Shakespeare: Blonde Versus Brunette………………………..6 3. The Dark Lady: an Alluring but Degraded Object of Desire…..…..…………..9 4. Shakespeare and the Fair Young Man………………………………………...11 5. The Love Triangle in Shakespeare’s Sonnets…………………………………15 6. Conclusion…………………………………………………………………….18 7. Works Cited……………………………………………………………...……20 8. Appendix…………………………………………………………………....…21 2 Introduction What we need most, is not so much to realise the ideal as to idealise the real. Francis Herbert Hedge According to Meyer H. Abrams, in the competitive and vital world of Leonardo da Vinci and Michelangelo, the overcoming of the human spirit unleashed curiosity, individual self-assertion, and a powerful conviction that man was the measure of all things (472). In the Renaissance, the literary images of the human being appeared to be perfect and unattainable, aiming to improve society through the perfection of the individual. It was achieved by means of literature and its different forms. The most explicit form for conveying the beauty and perfection of a human being to be used was the poem. Love verses, odes devoted to queens and lyrical songs of various kinds were the best weapon in the love arsenal of poets. Regardless of a vast variety of different poetic forms, however, poets in their verses encompassed all possible themes and, therefore, were searching for something new, more expressive, unique and revolutionary to some extent. -
Deception and Self-Deception in the Dark Lady Sonnets
ISSN 2249-4529 Lapis Lazuli An International Literary Journal WWW.PINTERSOCIETY.COM VOL.6 / NO.1-2/SPRING, AUTUMN 2016 Deception and Self-Deception in the Dark Lady Sonnets Abhinaba Chatterjee Abstract: Shakespeare's sonnets, especially those addressed to the 'Dark Lady', reveal the dilemmas of a male character, trapped in the conventions of the time and his own inner instincts of sexual gratification. This paper analyses this aspect of the poet-narrator, both from the empowered position of the dark lady and as the conflict between the eternal opposites of the psyche, the conflict of the ego and the id, the Elizabethan convention of treating women as an equal and the male desire for sexual gratification. Keywords: Shakespeare, Sonnet-sequence, dark lady, Elizabethan convention, female subjectivity, distortion, abjection, sexuality, Christianity, Neoplatonism The sonnets 127-152 are addressed to an older woman who provokes love and revulsion simultaneously in the poet. Shakespeare’s poetry dramatizes the power of stigmatizing discourse of promiscuity to distort female subjectivity, revealing in the process the contradictions of the logic on which this distortion rests. It is the evacuation of subjectivity that the dark lady refuses when she presumes to occupy the male province of carnal desire. However, contrary to critical consensus, it is not her promiscuity as such that so disturbs the speaker of the Sonnets. Rather, it is her assertion of 42 VOL.6 / NO.1-2/ SPRING, AUTUMN 2016 sexual subjectivity; of agency and choice, which threatens the male prerogative he claims – the dark lady wants some men (may be many men) but she does not want all of them. -
Lecture -10 Shakespearian Sonnets Sonnet
1 LECTURE -10 SHAKESPEARIAN SONNETS SONNET - 65 Since brass, nor stone, nor earth, nor boundless sea, But sad mortality o'ersways their power, How with this rage shall beauty hold a plea, Whose action is no stronger than a flower? O how shall summer’s honey breath hold out Against the wrackful siege of batt'ring days, When rocks impregnable are not so stout, Nor gates of steel so strong but time decays? O fearful meditation! Where, alack, Shall time’s best jewel from time’s chest lie hid? Or what strong hand can hold his swift foot back? Or who his spoil or beauty can forbid? O none, unless this miracle have might, That in black ink my love may still shine bright. Structure Sonnet 65 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form, abab cdcd efef gg and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The first line exemplifies a regular iambic pentameter: × / × / × / × / × / Since brass, nor stone, nor earth, nor boundless sea, (65.1) / = ictus, a metrically strong syllabic position. × = nonictus. The tenth line exhibits a rightward movement of the third ictus (the resulting four- position figure, × × / / , is sometimes referred to as a minor ionic): × / × / × × / / × / Shall Time's best jewel from Time's chest lie hid? (65.10) 2 This figure may also be detected in lines eleven and fourteen, along with an initial reversal in line three. -
Unit -3 Shakespeare : W.H. and Dark Lady 3.1 Objectives : 3.2
Unit -3 qqq Shakespeare : W.H. and Dark Lady Structure 3.1 Objectives 3.2 Shakespeare : Life and Works 3.3 Shakespeare’s Sonnets 3.4 The Text: W.H. 3.4.1 Sonnet I 3.4.2 Sonnet LV (55) 3.4.3 Sonnet CXVI (116) 3.4.4 Sonnet 126 3.5 The Text: Dark Lady 3.5.1 Sonnet CXXX (130) 3.5.2 Sonnet CXXXVIII (138) 3.6 Conclusion 3.7 Questions 3.8 Reference 3.1 qqq Objectives : I welcome you to this Unit but not without some hesitation. Some of you, 1 am afraid, may want to question the relevance as well as the utility of an introduction to William Shakespeare for, generally speaking, neither in your school nor in your college have you been too far away from the Bard of Avon. You could not have been. A student of English Literature cannot perhaps hope to graduate without reading Shakespeare because it will mean studying the human body and not learning about the heart and the circulatory system. Yet I feel that I should introduce or rather re-introduce Shakespeare to make you aware of certain facts/issues/controversies. 3.2 qqq Shakespeare : Life and Works From your study of Shakespeare at the undergraduate level, you know that a great deal 70 of mystery shrouds the poet-dramatist and his identity itself has been in question for many hundred years now. It has almost turned into a literary detective story, with enthusiasts trying to unveil the truth about a man known to have been born in Stratford-upon-Avon on 23 April 1564 and baptized on the 26th. -
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. -
Unit 2 Shakespeare's Sonnets 18, 55, 65
UNIT 2 SHAKESPEARE’S SONNETS 18, 55, 65 Structure 2.0 Objectives 2.1 Introduction 2.2 Shakespeare as a Poet 2.3 The Shakespearean Sonnet 2.4 Themes and Concerns of the Sonnets 2.5 Sonnet 18 2.5.1 Explanation 2.6 Sonnet 55 2.6.1 Explanation 2.7 Sonnet 65 2.7.1 Explanation 2.8 Let Us Sum Up 2.9 Questions 2.10 Suggested Readings 2.0 OBJECTIVES This unit would familiarize you with the tradition of sonnet writing in England and Shakespeare’s experimentation with the sonnet form. We would look at the sonnets of Shakespeare specifically, and view his poetic sensibility. The idea is to understand the general strains of Shakespeare’s sonnets focusing on the themes and issues raised in them. The three sonnets in your course would be at the centre of this unit and we would interpret them for gaining an understanding of the many dimensions they open. 2.1 INTRODUCTION Sonnets were a popular mode of literary expression in Renaissance Europe. In England particularly, the form came into vogue through the sonnets of Thomas Wyatt and Earl of Surrey in the early 16thcentury. The tradition was followed by Philip Sydney and Edmund Spenser. In the 1590s the private sonnet form and the public drama came of age. The former had an elitist edge while the latter thrived on mass acceptance. Shakespeare belonged to the group of middle-class writers who always wrote keeping in mind the ground realties. It is for this reason that he sought to write realistic works that consciously engaged with common feelings of the people. -
Sonnet 144 by William Shakespeare Two Loves I Have, of Comfort And
B.A. II (Opt. Eng.), Semester III Study of Poetry: Sonnets & Elegy—V Sonnet 144 by William Shakespeare Two loves I have, of comfort and despair, Which like two spirits, do suggest me still; The better angel is a man right fair, The worser spirit a woman colored ill. To win me soon to hell, ma female evil Tempteth my vetter angel from my side, And would corrupt my saint to be a devil, Wooing his purity with her foul pride. And whether that my angel be turned fiend Suspect I may, but not directly tell; But being both form me, both to each friend, I guess one angel in another’s hell. Yet this shall I ne’er know, but live in doubt, Till my bad angel fire my good one out. Summary: Sonnet 144 is the only sonnet that explicitly refers to both the Dark Lady and the young man, the poet's "Two loves." Atypically, the poet removes himself from the love triangle and tries to consider the situation with detachment. The humor of the previous sonnet is missing, and the poet's mood is cynical and mocking, in part because uncertainty about the relationship torments him. Although the sonnet is unique in presenting the poet's attempt to be objective about the two other figures in the relationship, stylistically it is very similar to others in terms of setting up an antithesis between two warring elements, the youth ("comfort") and the woman ("despair"): "The better angel is a man right fair, / The worser spirit a woman, colored ill." Symbolically, the young man and the woman represent two kinds of love battling for supremacy within the poet's own character: selfless adoration and shameful lust, respectively.