One can see the beauty in a women’s eyes, but not like they can in Shakespeare’s mistress. “My mistress’ eyes are nothing like the sun” is a man explaining his lovers looks compared to other items. At first it is hateful things, but towards the end he writes about how much he loves her. Shakespeare’s sonnets show quatrains/couplet, words being stressed, and rhyming patterns. “My mistress’ eyes are nothing like the sun” is an easy sonnet compared to other love poems.
It also has iambic pentameter, its rhymed iambic pentameter lines, like its dramatic setup, remind us of Shakespeare’s plays and other Elizabethan drama. But it is about the inner thoughts of an individual speaker, instead of a dialogue between more than one person. It also shows the idea of a marriage and how there is standard life that people at this time followed, everything was simply laid out in front of them there was one way only for relationships to go. The writer for valentine uses very unusual language to express his ideas. He says “I give you an onion”, this is considered abstract symbolism because he is taking something that is never associated with love and claiming it to be more meaningful than “a cute card or a kissogram”, he sees them as cliché and not real.
He is writing the present poem to tell the truth to those who will read and know the reality of those future times when people will make nonsense myths out of such incidents. In a sense, the poem is a satire on the superstitious ideas of love and magic, rather than believing in the actual contact and attachment between man and woman. The 'relic' of the title refers to the hair and bone that people will declare relic out of
However, Shakespeare presents Benedick’s change in a more positive and light-hearted manner, whilst Macbeth’s change revolves around negativity and wrong-doing as the approach to each individual genre is different, where comedies are humorous and happy, whilst tragedies are gloomy and grief-stricken. INTRO: The opening scene of the play, ‘Much Ado About Nothing’, is significant as Shakespeare introduces the genre of the play as a romantic comedy through the comic names given to Benedick and Beatrice by each other. Beatrice nicknames Benedick as “Signor Mountanto”, which uses sexual innuendo expressing their love hate relationship, created by the definition of the word ‘montanto’ (technical term for an upward thrust in fencing). This insulting, but hilarious comment would have only been understood by the Shakespearean audience. Opposing this, Benedick personifies disdain in the form of Beatrice, by calling her “Lady Disdain”, suggesting that she is in fact, the epitome of disdain or contempt.
Shakespeare’s Sonnets 127, 130, and 138 illustrate his love for a mysterious woman of abnormal beauty, expressing his unusual tendencies as writer and a lover. Shakespeare’s view of beauty is vastly different than that of many, as evident in Sonnet 127. The persona starts with the couplet “In the old age black was not counted fair, / or if it were, it was not beauty’s name” (1-2). At this time, “the archetype of beauty was the unretouched fair woman” (Vendler 540). Women with a dark complexion existed at this time, but were not considered by the majority of people to be beautiful.
Incidentally, he refers to Juliet’s life as “honey”, and that it was sucked from her breath. Therefore, it is not unnatural to assume that Juliet lived a good, friendly, and warm life. Love and death are a crucial part to the story as they provide a deeper meaning and understanding of it. Without images of light and dark as well as love and death, Shakespeare’s “Romeo and Juliet” would not have achieved the rightly deserved praise it has today. Consequently, the story would be dry and less lively, and some important connections and meanings could not be made.
Larkin describes one of the girls to be ‘a bosomy English rose’ and the other ‘in specs’, who we feel is less attractive. Larkin objectifies one of the women and pictures her as a sexual object due to her looks, the other women he ‘could talk to’ suggesting this time Larkin is manipulating her personality. In the second stanza Larkin mentions ‘a ten guinea ring’, one could argue this could be a sign of marriage but not actually conforming to her, however this is ambiguous, as we do no know what girl hold this ring. What I find most significant about the ring is the fact Larkin goes against his views on consumerism to try and seduce a women. Nevertheless Larkin ‘got it back in the end’ which illustrates Larkin not fully conforming to her results in rejection.
This imbalance is introduced and reinforced in Act I, Scene I, when Lysander says “The course of true love never did run smooth” (136). By including the detail that Demetrius used to love Helena, Shakespeare implies the option of a compatible solution to this interweave of love: if Demetrius loved Helena again, then there would be no conflict. The closing stages of the conflict (the fairies’ involvement with magic) provides such a result, and all does get resolved, nevertheless it is important to note that the return of Demetrius’ love for Helena is the product of magic instead of an organic rebirth of his love. Demetrius, Lysander, Hermia, and Helena are not intended to be models of romance; but rather, compassionate figures tossed into the
Chaucer's term for fabliau is a "churl's tale" (cherles tale, Miller's Prologue, line 61, p. 88 in Penguin Classics translation); it is thus implicitly contrasted with the "aristocratic" or "courtly" genre of romance (e.g. the Knight's Tale which immediately precedes it). Do note however that fabliaux are found in the same manuscripts as romances, indicating that they were intended for and enjoyed by the same aristocratic audiences; thus,fabliaux were not in fact the "genre of the lower or middle classes." Keeping these ideas in mind, consider the Miller's contention that his tale will "repay" the Knight's Tale (pp. 86-7,Miller's Prologue line 19; other possible translations of the Middle English word quite are "requite," "avenge" or "be an answer to").
Comparison of Sonnet Sequences, Spencer 65 and Sidney 107 Sir Philip Sidney’s sonnet 107 from Astrophil and Stella and Edmund Spenser’s sonnet 65 from Amoretti are both sonnets about love. Sidney’s sonnet 107 from Astrophil and Stella is a plea from Astrophil to Stella to dismiss him from loving her. He is in love with her but the felling is not mutual. He refers to Stella as his ruler, and he cannot stop loving her without her help to end the relationship. Edmund Spenser’s sonnet 65 from Amoretti is a reassurance for Elizabeth, expressing marriage to him is the right choice.