Here the readers are persuaded that this is definitely not a love sonnet. The third stanza seems to compliment the woman. Shakespeare compares her to an angel that walks earth. He also claims her his equal. He claims that he loves to hear her voice, yet he says “music hath a far more pleasing sound.” He plays with the readers mind by complimenting and insulting the woman at the same time.
Irony: is the keynote. The central character of “The Garden-Party,” Laura Sheridan, is protected from the exigencies of life and is unable to view reality (even death) except through the rose-tinted glasses provided by a delicate and insulated existence. Laura's world is a world of parties and flowers, a pristine world of radiant, bright canna lilies and roses, a precious and exclusive world. Laura's sister, Jose, is early described as a butterfly—and what creature is more delicate than a butterfly? That Jose chooses to sing a song about a weary life, obviously something she is unacquainted with, has to be ironic: in the Sheridan family, weariness and sorrow are merely lyrics to be mocked.
Shakespeare utilizes a new structure, through which the straightforward theme of his lover’s simplicity can be developed in the three quatrains and neatly concluded in the final couplet. Thus, Shakespeare is using all the techniques available, including the sonnet structure itself, to enhance his parody of the traditional Petrarchan sonnet typified by Sidney’s work. But Shakespeare ends the sonnet by proclaiming his love for his mistress despite her lack of adornment, so he does finally embrace the fundamental theme in Petrarch's sonnets: total and consuming love. One final note: To Elizabethan
The one positive thing in the whole sonnet is some part the mistress is (like) when you feel she is not. She is a woman with flaws, her eyes do not shine like the sun , her lips are not coral red and her breast are not white as the snow but she is his love and he gives no false compare he is just trying to be dreadfully honest to her. My mistress’ eyes are nothing like the sun; Coral 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. Sonnet 130, William Shakespeare lines 1-4; 1st quatrain The second and third quatrain he expands the description to occupy two lines each so that roses/cheeks, perfume/breath, music/voice and goddess/mistress each receive a pair of unrhymed lines. Thus creating the sonnet from becoming stagnant.
Walkley's was a quarto edition, known as Q1, and it was the last Shakespearean edition of a single play before the collected edition, known as the First Folio (printed by Heminge and Condell in 1623). Othello was one of Shakespeare's most popular plays throughout the 17th century. The preface to the first quarto tells us that the play "had beene diverse times acted at the Globe, and at the Blackfriars by his Majesties Servants", and the Allusion Book records that from 1591 to 1700, Hamlet is referred to most often in contemporary literature at 95 times, while Othello is fifth with 56 references (Brooke, 176). The famous Renaissance actor Richard Burbage was the first Othello, and was amazing in the role according to tributes made to Burbage after his death in 1619. Through the Restoration and Queen Anne periods a number of great actors played the role of Othello, but only one was able
In the first two lines: “My mistress’s eyes are nothing like the sun Coral is far more red than her lips’ red” Here he is comparing his mistress’s eyes to the sun and her lips to the rich red of coral and finding no similarity. In typical sonnets dealing with love as a theme, the poets make use of hyperbole and elaborate comparisons to describe the beauty of their beloveds. In sonnet 130 this is not the case, Shakespeare is saying how foolish it is “Oh, your mistress’s eyes look like the sun? That’s funny my mistress’s eyes are nothing like the sun.” These ridicules can be found throughout the sonnet from line 1
But Shakespeare ends the sonnet by proclaiming his love for his mistress despite her lack of adornment, so he does finally embrace the fundamental theme in Petrarch's sonnets: total and consuming love. The rhetorical structure of Sonnet 130 is important to its effect. In the first quatrain, the speaker spends one line on each comparison between his mistress and something else (the sun, coral, snow, and wires—the one positive thing in the whole poem some part of his mistress is like. In the second and third quatrains, he expands the descriptions to occupy two lines each, so that roses/cheeks, perfume/breath, music/voice, and goddess/mistress each receive a pair of prevents the poem—which does, after all, rely on a single kind of joke for its first twelve lines—from becoming stagnant. Focus: Shakespeare begins his poem to the dark lady with no compliments about the dark lady.
Astrophel and Stella Biography: Sir Philip Sidney (30 November 1554 – 17 October 1586) became one of the Elizabethan Age's most prominent figures. Famous in his day in England as a poet, courtier and soldier, he remains to be known as the author of Astrophel and Stella. His Works: The Lady of May Astrophel and Stella The Countess of Pembroke's Arcadia An Apology for Poetry Introduction: Astrophel and Stella is an English sonnet sequence written by Sir Philip Sidney which containing 108 sonnets and 11 songs, is the first in a long line of Elizabethan sonnet cycles*. Astrophel and Stella was probably composed in the early 1580s. The sonnets were well-circulated in manuscript before the first edition was printed in 1591, five years after Sidney's death.
This shows that she is only with him for his money and power. When Daisy gave birth to Pammy she said “I’m glad it’s a girl. And I hope she’ll be a fool-that’s the best thing a girl can be in this world, a beautiful little fool.”(Fitzgerald 21).She implies here that the world is no place for a woman and all she can do is hope to survive through beauty rather than brains. However during the reunion Gatsby is still blinded by his dream. Even though Daisy isn’t the same as he remembers.
To live a baren sister all your life chanting faint hyms to the cold fruitless moon. But Earthlier happy in the rose distilled than that which withering on the virgin thorn grows, lives and dies in single blessedness. The course of true love never did run smooth. Brief as lightning in the collied night, that is a spleen unfolds both heaven and earth. So quick good things come to confusion A very good piece of work I assure you, and a merry.