CHAPTER I INTRODUCTION A. Background of the Study The
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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? ______________________________________________________________________________________ ______________________________________________________________________________________ -
Elizabethan Sonnet Sequences and the Social Order Author(S): Arthur F
"Love is Not Love": Elizabethan Sonnet Sequences and the Social Order Author(s): Arthur F. Marotti Source: ELH , Summer, 1982, Vol. 49, No. 2 (Summer, 1982), pp. 396-428 Published by: The Johns Hopkins University Press Stable URL: http://www.jstor.com/stable/2872989 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]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms The Johns Hopkins University Press is collaborating with JSTOR to digitize, preserve and extend access to ELH This content downloaded from 200.130.19.155 on Mon, 27 Jul 2020 13:15:50 UTC All use subject to https://about.jstor.org/terms "LOVE IS NOT LOVE": ELIZABETHAN SONNET SEQUENCES AND THE SOCIAL ORDER* BY ARTHUR F. MAROTTI "Every time there is signification there is the possibility of using it in order to lie." -Umberto Ecol It is a well-known fact of literary history that the posthumous publication of Sir Philip Sidney's Astrophil and Stella inaugurated a fashion for sonnet sequences in the last part of Queen Elizabeth's reign, an outpouring of both manuscript-circulated and printed collections that virtually flooded the literary market of the 1590's. But this extraordinary phenomenon was short-lived. With some notable exceptions-such as the delayed publication of Shake- speare's sought-after poems in 1609 and Michael Drayton's con- tinued expansion and beneficial revision of his collection-the composition of sonnet sequences ended with the passing of the Elizabethan era. -
6 X 10.5 Long Title.P65
Cambridge University Press 978-0-521-87941-5 - The Cambridge Introduction to Shakespeare’s Poetry Michael Schoenfeldt Index More information Index Actor, 5, 65, 121, 131, 136, 137, 138 Ariel (The Tempest), 64 Adonis (Venus and Adonis), 1, 21–22, As You Like It, 6, 17, 19, 49, 124 23, 24, 25–33, 34–35, 36–37, 40, Aspinall, Alexander, 136 56, 57, 59, 110 Astrophil and Stella, Sir Philip Sidney’s, Aesthetics, 14, 53, 64, 70, 75, 90, 92, 98, 12, 15, 58 141 Aubrey, John, 136 Age, 74, 80, 81–82, 86, 100, 115, 116 Auden, W. H., 57 Alliteration, 25, 26, 94 Augustine, 52–53 Amoretti, Edmund Spenser’s, 15, 110, Authenticity, 13, 16, 17, 62, 116, 139 113 Authorship, 21, 58, 62, 64, 65, 112, Animals (see also Phoenix, Turtledove) 130–31, 139, 140, 141, 142, 143 Birds, 11, 32, 50, 81, 82, 112, 123, 124, 126, 128, 129 Baptista (TheTamingoftheShrew), 52 Boar, 30, 32, 34 Barthes, Roland, 69 Cat, 47 Beaumont, Francis, 66, 134 Cockatrice, 47 Beauty, 17, 21, 63, 66, 67, 68, 69, 70, Crow, 125, 131, 138 77, 78, 80, 84, 88, 90, 92, 98, 99, Dog, 28, 47 116, 128 Eagle, 125, 129 Benson, John, 66, 67, 134, 135 Hawk, 48 Betrayal, 2, 18, 44, 46, 63, 65, 66, 89, Horses, 26, 28, 29, 30, 72, 116, 123 97, 113 Lamb, 42, 47 Blank verse, 5, 131 Lion, 47, 82 Blazon, 9, 15, 27, 31, 99 Mouse, 47 Body, 4, 5, 21, 26, 27, 31, 34, 35, 37, 43, Nightingale (see also Philomel), 50 51, 55, 56, 69, 79, 80, 85, 87, 93, Swan, 125 114, 127 Tiger, 82, 131 Body–soul relations, 26, 51, 84, 85, Wolf, 42, 47, 123 118 Anti-Stratfordians, 131 Genitalia (see also Will), 9, 30, 77, Antony and -
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. -
Spenser's Concept of Love in Amoretti
ADAB AL-RAFIDAYN vol. (42) 1426 / 2005 Spenser's Concept of Love in Amoretti Tala’at Ali Quaddawi(*) Spenser's Amoretti, published together with Epithalamion in 1595, is an Elizabethan love-sonnet sequence in which he expressed his personal feeling to an unmarried woman, Elizabeth Boyle, whom he later married and celebrated his marriage in Epithalamion. Like other Renaissance sonneteers, Spenser imitated the pioneer love-sonnet sequence poet, Petrarch. Yet Spenser's Amoretti seems to have some features that are not to be found in other love poems of his both predecessors and successors. The aim of this paper is to consider Spenser's concept and values of love as expressed in these love sonnets, Amoretti, and how they differ from those expressed in other Renaissance love-sonnet sequences and from those of Petrarch. The Amoretti has been subject to some controversial views. Critics differ as to the subject matter, lady's character, concept, thought, feeling and mood revealed in these love poems. (*) Department of Translation - College of Arts / University of Mosul 85 Spenser's Concept of Love in Amoretti Tala’at Ali Quaddawi C. S. Lewis emphasises the idea of marriage by saying that Spenser is the "greatest among the founders of that romantic conception of marriage which is the basis of all our love literature from Shakespeare to Meredith"(1). Edwin Casady reads the sonnet sequence in terms of the neo-platonic ladder. "The love," he says, “moves from physical, earthly and mortal love to spiritual, heavenly and immortal love”(2). Hallet Smith draws our attention to Spenser's description of the lady's physical beauty and her spiritual qualities. -
British Literature – the Sonnet Name______
British Literature – The Sonnet Name_________________________ There are three major sonnet forms: the Italian or Petrarchan; the English or Shakespearean; and the Spenserian. We will investigate the latter two. The English Sonnet The English sonnet is also called the Shakespearean sonnet because Shakespeare was the master of this sonnet form. English sonnets were divided into three QUATRAINS (groups of four lines with each containing its own rhyme scheme) and one COUPLET (a group of two lines). The rhyme scheme is usually ABAB CDCD EFEF GG. The Spenserian Sonnet Edmund Spenser crafted his own version of the sonnet. Like the Shakespearean sonnet, the Spenserian version has three quatrains and a couplet, but it follows the rhyme scheme ABAB BCBC CDCD EE. This interlocking rhyme scheme pushes the sonnet toward the final couplet, in which the writer typically makes a key point or comment. ------------------------------------------------------------------------------------------------------------------------------- Spenser’s Sonnet 30 and Sonnet 75 – pages 257 and 258 Please answer questions in complete sentences. 1. Define humanism. (Use your notes.) 2. In Sonnet 30, to what does the speaker compare his and his beloved’s feelings? What do these comparisons indicate about the feelings of the two people? 3. Paraphrase the question the speaker asks in lines 5-8 of Sonnet 30. What does this question indicate about the speaker’s love? 4. How does the speaker’s beloved respond to the speaker’s actions in Sonnet 75? What do you think she means by what she says? 5. Assuming that these two sonnets are about the same speaker and the same woman, how has their relationship changed between Sonnet 30 and Sonnet 75? 6. -
The Symbolic Meanings of Roses in Shakespeare's Sonnets
Sino-US English Teaching, August 2020, Vol. 17, No. 8, 239-247 doi:10.17265/1539-8072/2020.08.003 D DAVID PUBLISHING The Symbolic Meanings of Roses in Shakespeare’s Sonnets DONG Yuping University of Shanghai for Science and Technology, Shanghai, China The paper explores the symbolic meanings of roses in Shakespeare’s sonnets. In Shakespeare’s 154 sonnets, the rose imagery is placed in a dominant position among all the other flower imagery. In general, rose is one of the most conventional images in the sonnet. But in addition to the traditional symbol of beauty and love, rose in the sonnet shows more symbolic meanings: a symbol of vitality and reproduction, a symbol of friendship and devotion, and a symbol of fidelity and immortality. The symbolic rose, to a great extent, reflects the Renaissance humanist Shakespeare’s values and ideals of humanism. By successfully employing the rose imagery, Shakespeare extols the virtues of reproduction, displays his faith in the immortality of his verse, and conveys the message of appreciating and cherishing the beauty, goodness, and truth. Keywords: rose, sonnet, beauty, reproduction, immortality William Shakespeare (1564-1616), the greatest writer in the English language and the world’s pre-eminent playwright, has produced 37 plays from 1588 to 1613. Shakespeare has made outstanding achievements in drama and has also distinguished himself as a great poet by writing some non-dramatic poems. Shakespeare has written two long narrative poems, Venus and Adonis (1592-1593) and The Rape of Lucrece (1593-1594), and 154 sonnets (1593-1600). Shakespeare’s 154 sonnets include various kinds of flower imagery, varying from the flowers in general to the specific flowers, such as violet, marigold, lily, rose, etc. -
The Eye of the Beholder
Utah State University DigitalCommons@USU ENGL 3315 – Early Modern British Literary History Student Exhibits 11-2018 The Eye of the Beholder Cassidy Cox Utah State University Jessica Hahn Utah State University Whitney Howard Utah State University Taylor Pearson Utah State University William Pitcher Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/english_3315 Part of the English Language and Literature Commons Recommended Citation Cox, Cassidy; Hahn, Jessica; Howard, Whitney; Pearson, Taylor; and Pitcher, William, "The Eye of the Beholder" (2018). ENGL 3315 – Early Modern British Literary History. 6. https://digitalcommons.usu.edu/english_3315/6 This Book is brought to you for free and open access by the Student Exhibits at DigitalCommons@USU. It has been accepted for inclusion in ENGL 3315 – Early Modern British Literary History by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. The Eye of the Beholder Cassidy Cox, Jessica Hahn, Whitney Howard, Taylor Pearson, and William Pitcher Sonnet 127 Overview Subverted Use of Eyes and The majority of Shakespeare’s sonnets are Heart devoted to the fair young man, but Sonnet In the old age, black was not counted fair, 127 introduces a new love interest, commonly ➤ Although the poet knows he should Portrait of not love the dark lady because she is Or, if it were, it bore not beauty’s name; known as the dark lady. Here Shakespeare Eleanora of But now is black beauty’s successive heir, speaks of an attraction to a person of darker Toledo, not conventionally beautiful, he does. And beauty slandered with a bastard shame. -
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 -
THE MAKING of a SONNET a Norton Anthology
THE MAKING OF A SONNET A Norton Anthology Edited by EDWARD HIRSCH and EAVAN BOLAND W. W. NORTON & COMPANY NEW YORK • LONDON Contents Acknowledgments 33 Editors' Note 35 Personal Essays on Encountering the Sonnet Edward Hirsch MY OWN ACQUAINTANCE 39 EavanBoland DISCOVERING THE SONNET 43 The Sonnet in Summary 49 The Making ofafSonnet: A formal Introduction 51 i- THE SONNET^ IN THE MlRROR 55 THE SONNET IN THE MIRROR 57 EDNA ST. VINCENT MILLAY (1892-1950) "I will put Chaos into fourteen lines" 60 ROBERT BURNS (1759-1796) A Sonnet upon Sonnets 60 SIR PHILIP SIDNEY (1554-1586) "My Muse may well grudge at my heav'nly joy" 61 JOHN ADDINGTON SYMONDS (1840-1893) from The Sonnet III ("The Sonnet is a world, where feelings caught") 61 WILLIAM WORDSWORTH (1770-1850) "Scorn not the Sonnet; Critic, you have frowned" 62 "Nuns fret not at their convent's narrow room" 62 JOHN KEATS (1795-1821) "If by dull rhymes our English must be chain'd" 63 Contents JOHN DOVASTON (1752-1854) from Sonnets, XXIX. Concluding Sonnet on the Sonnet 63 DANTE GABRIEL ROSSETTI (1828-82) from The House of Life ("A Sonnet is a moment's monument") 64 ANNA SEWARD (1747-1809) To Mr. Henry Cary, On the Publication of his Sonnets 64 EBENEZER ELLIOTT (1781-1849) Powers of the Sonnet 65 CHRISTINA ROSSETTI (1830-1894) "Sonnets are full of love, and this my tome" 65 FREDERICK WILLIAM FABER (1814-1863) Sonnet-writing. To F. W. F. 66 THEODORE WATTS-DUNTON (1832-1914) The Sonnet's Voice 66 EUGENE LEE-HAMILTON (1845-1907) What the Sonnet Is 67 EDGAR ALLAN POE (1809-1849) An Enigma 67 ELLA WHEELER WILCOX (1850-1919) ^ The Sonnet 68 EDWIN ARLINGTON ROBINSON (1869-1935) Sonnet ("The master and slave go hand in hand") 68 LORD ALFRED DOUGLAS (1870-1945) Sonnet on the Sonnet 69 SYLVIA TOWNSEND WARNER (1893-1978) "Farewell, I thought. -
His Sonnet's Ending Revises the Verdict at the Close of Sonnet 131: “In Nothing Art Thou Black Save in Thy Deeds.” (L
132 his sonnet’s ending revises the verdict at the close of Sonnet 131: T Thine eyes I love, and they as pitying me, “In nothing art thou black save in thy Knowing thy heart torment me with disdain, deeds.” (l. 13) The deeds are forgotten Have put on black and loving mourners be, as the poem slips back into the mood Looking with pretty ruth upon my pain. and imagery of the first poem in this And truly not the morning sun of heav’n section (Sonnet 127). Because the Better becomes the gray cheeks of the east, mistress’ “raven black” eyes (127. 9) Nor that full star that ushers in the ev’n return and still seem to be in mourning, the initial thread is carried Doth half that glory to the sober west forward, but the focus and emotions As those two mourning eyes become thy face: change. Sonnet 132 seems to be O let it then as well beseem thy heart smooth, sober and unflinching in its To mourn for me since mourning doth thee grace, loyalty to the woman. It also confirms And suit thy pity like in every part. the speaker’s oath to praise the beauty Then will I swear beauty herself is black, of blackness (see Sonnet 130) if the And all they foul that thy complexion lack. mistress gives in to his plea for pity. Now he thinks that the mourning eyes which become her face (l. 9) show that her heart pities him. It is important to remember at this point that the eye-heart dichotomy is a thread that subtly reappears in the first two lines. -
The Physical Beauty in Shakespeare's Sonnets
English Language and Literature Studies; Vol. 6, No. 2; 2016 ISSN 1925-4768 E-ISSN 1925-4776 Published by Canadian Center of Science and Education The Physical Beauty in Shakespeare’s Sonnets Chunli Ma1 1 School of Foreign Languages, Zhongyuan University of Technology, Zhengzhou, China Correspondence: Chunli Ma, School of Foreign Languages, Zhongyuan University of Technology, 41# Zhongyuan Road, Zhengzhou, 450007, China. E-mail: [email protected] Received: February 26, 2016 Accepted: March 18, 2016 Online Published: April 28, 2016 doi:10.5539/ells.v6n2p110 URL: http://dx.doi.org/10.5539/ells.v6n2p110 Abstract Beauty, one of the most reoccurring words throughout Shakespeare’s Sonnets, is the principal subject of the poet’s meditation. “From fairest creatures we desire increase, / That thereby beauty’s rose might never die” begins the first poem in the sonnet sequence, a statement about beauty that can be understood as the first articulation of the Sonnets’ aesthetic agenda. Beauty in Shakespeare’s Sonnets is represented in two dimensions: the physical beauty and the spiritual beauty. The physical beauty refers to the beauty of the body and the sensual pleasure derived from desires.By means of the illustration of the physical beauty, Shakespeare conveyed the aesthetical world which brings readers enjoyment and delight, moreover, the poet warns readers that the sensual pleasure should base on married chastity and social norms, otherwise, it would result in death and destruction. The account of sexual pleasure shows that on the one hand for enjoying the life itself, on the other hand, for leaving children behind to make the temporary time eternalized, thus returning back to timeless Garden of Eden.