My Mistress’ eyes are Nothing Like the Sun 1. Rhyme scheme: abab cdcd efef gg 2. The initial tone of the poem is Satirical and mocking. The poet does not direct the mocking tone at his Mistress, but rather at the world, who seems to believe that women and love is perfect and that no fault can be found with the one you love. The poet gives the impression of repulsiveness when he speaks of his Mistress’s hair and breath (“Than in the breath that from my mistress reeks.” “If hair be wires, black wires grow on her head.”) He uses a tone of honesty when describing her unpleasant voice (which he loves to hear) and the way she walks (“I love to hear her speak, yet well I know That music hath a far more pleasing sound;” “My mistress, when she walks, treads on the ground.” He uses nature’s beauty to describe her complete imperfection in comparison to nature.
Hermia is in love with Lysander despite the Athenian rules. She cannot understand her own behavior since she has fallen in love and this is evident when she says to Theuses ‘I know not by what power I am made bold’ (act1 scene 1). This quote shows that Hermia does not usually act in this unpredictable way and that love is emotional rather than rational. Love is unpredictable and does not always make sense. This is shown through the conversation between Hermia and Lysander where Shakespeare uses repetition to compare different challenging situations where two people have fallen in love.
Rosaline is unobtainable, just like Juliet was at first. Romeo's words for his love for Rosaline are very insincere and he discusses his love for Rosaline using sad language "Aye me sad hours seem long", "In sadness, cousin, I love a woman." When Benvolio asks who he loves, Romeo does not give a straight answer but instead complains that she does not return his love "From Love's weak childish bow she lives uncharmed."
This sort of pain is compared to death when he refers to the woman “[having] put on black” .This typifies the pain that men can feel and shows a somewhat excellent sensitive side that not only Shakespeare but other patriarchally born men of his time may have shared. Following these somewhat harsh words seen in the opening lines it can be noted this isn’t a normal petrarchan sonnet, instead it is labelled an anti-petrarchan sonnet due to its subtle attack on a unattainable idealized female. Shakespeare uses the senses as well as emotions cleverly in the poem. Although he knows this beautiful woman has no similar feelings towards him the man still can’t help but proclaim her beauty. In line 4 the poet shows just how
Othello says to her “It gives me wonder great as my content to see you here before me. O my soul’s joy!” (2.1.199-200). These beautiful and loving words are soon changed to hostility and rage with the thought of Desdemona’s betrayal. Both Desdemona and Hero are accused of being unfaithful through presented “ocular proof”, they are both disgraced by the leading male role, and they are young and inexperienced in the ways of love and both women are extremely forgiving after they have been mistreated by their suitors. Much Ado about Nothing was written by William Shakespeare as a comedy, but it could have very well been turned into a tragedy comparable to Othello.
Romeo is hopelessly in love with Rosalind which he explains when he says, "I am too sore enpiercèd with his shaft To soar with his light feathers, and so bound, I cannot bound a pitch above dull woe. Under love’s heavy burden do I sink" (1.4.19-22). Romeo says that he is too much in love to be able to be happy because the kind of love that he has is a burden. The love that Romeo has is good because he likes being in love, but it makes him sad and it is a burden for Romeo. He wants to be in love and be able to be happy, but right now he is wounded by
Thus, although Shakespeare has left room for his audience to come to their own conclusions, the love and harmony exhibited in the final scene does remain in stark contrast to the racial hatred displayed in the trial scene. As Lorenzo continues his discussion with Jessica he turns to the subject of music (“Let the sounds of music creep in our ears….the touches of sweet harmony”). He reminds the audience that mortals are merely imperfect humans (“this muddy vesture of clay”) and urges Jessica to appreciate music more saying that any man who does not value it “must be villainous and untrustworthy”. This may have been a slight against Shylock who had previously dismissed music as “shallow foppery” but it also plays a larger role of
He then goes on to say “I loved you not” (III.I.129.) meaning that Ophelia’s beauty caused him to lie, and not be realistic. Although Hamlet did in fact love Ophelia, he’s attempting to argue that when he said he loved her, it was really her beauty that was cheating his honesty. In this case, appearance conquered reality. In Shakespeare’s Hamlet, what “seems” isn’t always the same as being.
The reason for his lack of affection may be because E.B.B is being too demanding and obstinate of her own perspectives of what love is and how she would like to be loved. • She is also stereotyping the way men perceive women, and the only reason why men fall in love with women is for their appearance and physique. This is interpreted through the accumulative listing from line 3 to 6, when she was telling Robert Browning not to say he loves her for those superficial reasons. • The themes from this poem are – love and unconditional love, mockery and superficiality. • The techniques used in this poem are – accumulative listing, from line 3 to 6 and emotive language, used throughout the poem, but especially from line
Bradstreet desired for Puritans to admire her writings as they do Guillaume du Bartas. Bradstreet says that with her “wond’ring eyes and envious heart/ Great Bartas’ sugared lines do but read o’er” (128). Anne wants to be like Bartas, but Bradstreet knows that because she is a woman, her works will never be praised like Guillaume’s. Bradstreet is also envious of the Greeks and their literary accomplishments. Bradstreet also shows her insecurity when she says, “Nor can I, like that fluent sweet tongued Greek” (129).