40A Discussion Questions
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
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. -
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? ______________________________________________________________________________________ ______________________________________________________________________________________ -
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. -
Sonnet 30 to the Sessions 11 February 1601
THE PRISON YEARS OXFORD SUMMONED TO THE TRIAL DAY FOUR IN THE TOWER Sonnet 30 To The Sessions 11 February 1601 Edward de Vere is “summoned” to be a judge at the “Sessions” or treason trial of Essex and Southampton, to be held in Westminster Hall eight days from now. Oxford is filled with grief over the “losses” suffered by his royal son – loss of honor, loss of liberty, loss of the crown, and likely even the loss of his life by execution. Oxford’s expression of overwhelming sorrow demonstrates that, in life itself, he suffered every bit as greatly as do the characters of his plays. When his son by the Queen was born, Oxford had been forced to "pay" by being unable to acknowledge him. Now he must "new pay" for his son by making a crucial bargain with Robert Cecil and King James of Scotland, who, barring civil war around the throne, will become James I of England. Sonnet 30 Translation When to the Sessions of sweet silent thought When to the Trial with royal secret thoughts I summon up remembrance of things past, I am summoned to remember past things, I sigh the lack of many a thing I sought, I sigh the lack of your rights that I sought, And with old woes new wail my dear time’s And cry anew over my son’s wasted royal time: waste: Then can I drown an eye (unused to flow) Then I can weep tears (like never before) For precious friends hid in death’s dateless For my royal son imprisoned, facing death and night, disgraced forever, And weep afresh love’s long-since cancelled And weep again over his royalty’s cancellation, woe, And moan th’ expense of many a vanished sight. -
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 . -
Poetic Tradition and the History of Love in Early Modern
POETIC TRADITION AND THE HISTORY OF LOVE IN EARLY MODERN ENGLAND: EXPLORING REPRESENTATIONS OF LOVE IN THE SONNET SEQUENCES OF SIDNEY, SPENSER, BARNFIELD, AND WROTH A Thesis Presented to the Faculty of the Department of English California State University, Sacramento Submitted in partial satisfaction of The requirements for the degree of MASTER OF ARTS in English (Literature) by Ashley Thomas SPRING 2020 © 2020 Ashley Thomas ALL RIGHTS RESERVED ii POETIC TRADITION AND THE HISTORY OF LOVE IN EARLY MODERN ENGLAND: EXPLORING REPRESENTATIONS OF LOVE IN THE SONNET SEQUENCES OF SIDNEY, SPENSER, BARNFIELD, AND WROTH A Thesis by Ashley Thomas Approved by: __________________________________, Committee Chair Jason Gieger, Ph.D. __________________________________, Second Reader David Toise, Ph.D. ____________________________ Date iii Student: Ashley Thomas I certify that this student has met the requirements for format contained in the University format manual, and this thesis is suitable for electronic submission to the library and credit is to be awarded for the thesis. __________________________, Graduate Coordinator ___________________ Doug Rice, Ph.D. Date Department of English iv Abstract of POETIC TRADITION AND THE HISTORY OF LOVE IN EARLY MODERN ENGLAND: EXPLORING REPRESENTATIONS OF LOVE IN THE SONNET SEQUENCES OF SIDNEY, SPENSER, BARNFIELD, AND WROTH by Ashley Thomas This study explores representations of love, power, gender, and sexuality in the sonnet sequences of Sir Philip Sidney, Edmund Spenser, Richard Barnfield, and Lady Mary Wroth. Although Sidney and Spenser are esteemed authors whose work has shaped our perceptions of Renaissance thought, I look at the sequences of Sidney and Spenser as problematic works that endorse misogynist and hierarchical models of love. -
UC Santa Cruz UC Santa Cruz Electronic Theses and Dissertations
UC Santa Cruz UC Santa Cruz Electronic Theses and Dissertations Title The Protestant Reformation and the English Amatory Sonnet Sequence: Seeking Salvation in Love Poetry Permalink https://escholarship.org/uc/item/16m3x3z4 Author Shufran, Lauren Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA SANTA CRUZ THE PROTESTANT REFORMATION AND THE ENGLISH AMATORY SONNET SEQUENCE: SEEKING SALVATION IN LOVE POETRY A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in LITERATURE by Lauren Shufran June 2017 The Dissertation of Shufran is approved: ____________________________________ Professor Sean Keilen, chair ____________________________________ Professor Jen Waldron ____________________________________ Professor Carla Freccero _____________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies Copyright © by Lauren Shufran 2017 TABLE OF CONTENTS Abstract iv Acknowledgements vi Introduction 1 Chapter 1: “Till I in hand her yet halfe trembling tooke”: Justification in Edmund Spenser’s Amoretti 18 Chapter 2: Thomas Watson’s Hekatompathia: Reformed Grace and the Reason-versus-Passion Topos 76 Chapter 3: At Wit’s End: Philip Sidney and the Postlapsarian Limits of Reason and Will 105 Chapter 4: “From despaire to new election”: Predestination and Astrological Determinism in Fulke Greville’s Caelica 165 Chapter 5: Mary Wroth’s “strang labourinth” as a Predestinarian Figure in Pamphilia to Amphilanthus 212 Chapter 6: Bondage of the Will / The Bondage of Will: Theological Traces in Shake-speares Sonnets 264 iii ABSTRACT THE PROTESTANT REFORMATION AND THE ENGLISH AMATORY SONNET SEQUENCE: SEEKING SALVATION IN LOVE POETRY Lauren Shufran When he described poetry as that which should “delight to move men to take goodnesse in hand,” Philip Sidney was articulating the widely held Renaissance belief that poetry’s principal function is edification. -
Shakespeare's Drama in Poetry
Alessandro Serpieri Shakespeare’s Drama in Poetry Σ Skenè Studies II • 2 Skenè Studies II • 2 Alessandro Serpieri Shakespeare’s Drama in Poetry Σ S K E N È Theatre and Drama Studies Executive Editor Guido Avezzù. General Editors Guido Avezzù, Silvia Bigliazzi. Editorial Board Simona Brunetti, Lisanna Calvi, Nicola Pasqualicchio, Gherardo Ugolini. Managing Editor Serena Marchesi. Copyeditors Francesco Dall’Olio, Marco Duranti. Layout Editor Alex Zanutto. Advisory Board Anna Maria Belardinelli, Anton Bierl, Enoch Brater, Jean-Christophe Cavallin, Rosy Colombo, Claudia Corti, Marco De Marinis, Tobias Döring, Pavel Drábek, Paul Edmondson, Keir Douglas Elam, Ewan Fernie, Patrick Finglass, Enrico Giaccherini, Mark Griffith, Stephen Halliwell, Robert Henke, Pierre Judet de la Combe, Eric Nicholson, Guido Paduano, Franco Perrelli, Didier Plassard, Donna Shalev, Susanne Wofford. Copyright © 2015-2018 S K E N È All rights reserved. ISBN 978-88-96419-70-0 First edition May 2015 Re-printed in May 2018 No part of this book may be reproduced in any form or by any means without permission from the publisher S K E N È Theatre and Drama Studies http://www.skenejournal.it [email protected] Dir. Resp. (aut. Trib. di Verona): Guido Avezzù P.O. Box 149 c/o Mail Boxes Etc. MBE150) – Viale Colonnello Galliano, 51, 37138 Verona (I) Table of contents Foreword 7 1. Shakespeare’s Immortality Sonnets. An Agon Against Time 13 2. Sonnets 33 and 29. Conflict Between Two Cultural Models 139 3. Shakespeare Against Iago 163 Bibliography 187 Glossary 193 Index 199 Foreword I am collecting in this volume various studies that I have written on Shakespeare’s Sonnets over a period of several years. -
Combatting Fear of Oppression in Louise Labé's Sonnets
“Ne reprenez, Dames, si j’ay aymé”: Combatting Fear of Oppression in Louise Labé’s Sonnets Siobhan Hodge The University of Western Australia Sixteenth century Lyonnaise poet, Louise Labé, is primarily famous for her sonnet series, encoded with subtle feminist references and overt celebrations of female sexual and romantic desire. However, these poems are also tinged with anxieties, focused on legitimising her poetic voice and self-expression. By closely reading several of Labé’s sonnets, a series of direct engagements with her contemporary audience, critics and predecessors becomes evident, along with the poet’s articulation of potential sources of doubt. Engagement with bodily imagery, technical approaches to voice and directives given to the reader, reveal Labé’s preoccupation with identifying and countering forms of oppression. The following analysis examines five sonnets in detail, with reference to Labé’s recognition of sources of concern and application of poetic techniques and images to challenge these. Introduction Louise Labé, a French poet who lived in Lyons some time between 1520 and 1566, has long been associated with issues of agency and self-expression, as well as female expressions of love and romantic desire. Recently, Labé’s status as a poet has been questioned, and historically she was maligned for perceived sexual immorality, in light of her poetic publication. In both instances, her credibility as a poet is called into question, as critics challenge the character and nature of her poetic voice. Peter Sharratt, in his introduction to a new edition of her sonnets, admits that the study of the facts of Labé’s life seems to have taken precedence over studies of the poetry itself.1 Mireille Huchon posits that Labé was a construct, rather than a poet in her own right, serving as mouthpiece to a collective of male poets writing in Lyons at the time. -
The Hermeneutics of Symbolical Imagery in Shakespeare´S Sonnets
UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL INSTITUTO DE LETRAS PROGRAMA DE PÓS-GRADUAÇÃO EM LETRAS LITERATURAS DE LÍNGUA INGLESA The Hermeneutics of Symbolical Imagery in Shakespeare´s Sonnets Dissertação submetida à Universidade Federal do Rio Grande do Sul para obtenção do grau de Mestre em Letras na Ênfase Literaturas de Língua Inglesa Mestrando: Rafael Carvalho Meireles Orientadora: Profa. Dra. Sandra Sirangelo Maggio Porto Alegre Maio, 2005 FICHA CATALOGRÁFICA MEIRELES, Rafael Carvalho The Hermeneutics of Symbolical Imagery in Shakespeare´s Sonnets Rafael Carvalho Meireles Porto Alegre: UFRGS, Instituto de Letras, 2005. 209 p. Dissertação (Mestrado - Programa de Pós-graduação em Letras) Universidade Federal do Rio Grande do Sul. 1. Literatura inglesa. 2. Crítica literária. 3. William Shakespeare. 4. Sonetos. 5. Estudos do Imaginário. Agradecimentos FAMILIARES: À minha mãe e ao meu pai PESSOAS ESPECIAIS: PROFESSORES ESPECIAIS: Às professoras Dras. Sandra S. Maggio e Ana M. L. de Mello MEMBROS DA BANCA: Ana M. L. de Mello, Élvio A. Funck, Rosalia N. Garcia ÓRGÃOS FINANCIADORES PPG-LET Por fim, a todos aqueles que, direta ou indiretamente, auxiliaram a realização deste trabalho. RESUMO A presente dissertação consiste em um estudo das imagens simbólicas dos Sonetos de Shakespeare sob a luz das teorias modernas e contemporâneas do imaginário, mito e símbolo de autores como C.G.Jung, P. Ricoeur e G. Durand. Procura mostrar parte do processo criativo Shakespeareano identificando mitos pessoais, imagens recorrentes, assim como arquétipos e padrões arquetípicos presentes nos sonetos. Divide-se em três capítulos. O primeiro, a Introdução, apresenta Shakespeare como poeta e resume algumas abordagens críticas e os problemas decorrentes que foram debatidos até então. -
Teaching Petrarchan and Anti-Petrarchan Discourses in Early Modern English Lyrics
www.sciedu.ca/ijhe International Journal of Higher Education Vol. 1, No. 1; May 2012 Teaching Petrarchan and Anti-Petrarchan Discourses in Early Modern English Lyrics Purificación Ribes University of Valencia, Facultad de Filología, Traducción y Comunicación Dpto. Filología Inglesa y Alemana Avda. Blasco Ibáñez, 32, 46010 Valencia, Spain Tel: 34-963-983-004 E-mail: [email protected] Received: December 21, 2011 Accepted: January 9, 2012 Published: May 15, 2012 doi:10.5430/ijhe.v1n1p62 URL: http://dx.doi.org/10.5430/ijhe.v1n1p62 Abstract The aim of the present article is to help students realize that Petrarchism has been an influential source of inspiration for Early Modern English lyrics. Its topics and conventions have lent themselves to a wide variety of appropriations which the present selection of texts for analysis tries to illustrate. A few telling examples from Spenser, Sidney, Donne and Marvell have been chosen where the topic of the lady cast as a valuable treasure is variously addressed. Whereas Spenser’s Sonnet 15 of his Amoretti conveys the lover’s confident hope of its possession in a near marriage, Sidney’s Sonnet 37 of Astrophil and Stella portrays his frustration at the idea of being robbed of his cherished jewel by a less worthy rival. Donne’s The Sun Rising extends the image of the valuable treasure to include the lyric I, while removing the traditional Petrarchan opposition between charitas and eros, whereas Marvell’s To his Coy Mistress inscribes his parody of the Petrarchan topic of the lady as unattainable jewel within the carpe diem tradition. -
Renaissance Poetry Shakespearean Sonnets: 18, 29, 116, 130 Directions: Read the Following Shakespearean Sonnet
Name: Renaissance Poetry Shakespearean Sonnets: 18, 29, 116, 130 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? st 1 Quatrain nd 2 Quatrain rd 3 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? ______________________________________________________________________________________ ______________________________________________________________________________________