The beloved in Sonnet 130 is described in an unappealing manner, and yet, because of his honest depiction of her the poet-speaker considers his love to be true. The sonnet suggests true, authentic feelings can only be expressed when traditional conventions are set aside. This essay will examine the various technical features used by Shakespeare to emphasise this theme. The discussion will also consider the context in which the sonnet was written. It is immediately clear that Sonnet 130 challenges traditional concepts of romantic love.
The analysis of Sonnet 116 With poetic repetition and figurative language, Shakespeare in Sonnet 116 discusses and demonstrates his perception of love which is steadfast when confronting any difficulties. This sonnet is divided into four parts——three quatrains and a couplet employing the rhyme scheme ABAB CDCD EFEF GG. From the strong rhyme pattern and rhythm, we are directly aware of Shakespeare’s emotional praise for true love and his intensely criticism on false love. In the first quatrain, Shakespeare initially straightforward declares his stand on true love with a powerful negative sentence “Let me not to the marriage of true minds Admit impediments.” Then he employs parallelism to display how false love shows: every time when it confronts impediments or temptation, it will depart away. In the second quatrain, Shakespeare vivifies true love to make it pictorial through simile.
Romeo is a great reader of love poetry, and from the beginning we could see that his portrayal of love for Rosaline seemed that he was trying to act out what he had read about. When Juliet first meets him, she says that he ‘kisses by th’ book’, meaning that he kisses by the rules. This shows that Romeo’s kiss is proficient but lacks originality, and this is also reflected upon by his personality. When Romeo meets Juliet, Rosaline instantly vanishes from his mine, and in fact Juliet is far more than just a replacement; Romeo’s love for her is far deeper, more authentic and unique than the clichéd puppy love for Rosaline. Romeo’s love matures in course of the play, from a shallow desire to intense, profound passion.
It is clear appearance isn’t everything. In Sonnet 18 the speaker says that as long as the poem is still being read then the beauty of it still lives, which shows that poetry can preserve love and is immortal. Sonnet 147 is a poem that’s starts describing a beautiful person but ends but saying that she is basically the devil. This supports the poem’s theme: appearances isn’t everything. The speaker was deceived buy her beauty and soon came to realize that one doesn’t just judge someone by someone’s beauty and that person’s personality counts too.
In the play “Twelfth Night” the topic “love” is widely mentioned through out the play. “Love” can be considered as the most important theme of this play. All of the characters in this play deal with some sort of love. Even though the play “Twelfth Night” has a happy ending, at some parts of the play, some characters do feel that love causes pain. There are three kinds of love that William Shakespeare uses in this play: true love, friendship, and self love.
This enables him to present the experience of first love as more intriguing and romantic. He is giving the reader something to relate to. He also quotes many symbols related to love in the poem such as ‘heart’ and ‘flowers’. In the line ‘I could not see a single thing’ he is emphasising that he is truly ‘blinded’ by love and he is experiencing the common symptoms of ‘first love’. The reader can relate to these symptoms and the text could compel emotions relating to love from the reader.
Although, Shakespeare gets rid of that technicality by keeping “Twelfth Night” interesting with all the drama and confusion. One way in which William Shakespeare thinks that love is fickle is through Duke Orsino and Viola. “Why, so I do, the noblest that I have. O, when mine eyes did see Olivia first, Methought she purged the air of pestilence ! That instant when I’d turn’d into a hart; And my desires, like fell and cruel hounds, E’er since pursue me.” (Act 1, Scene 1 – pg.
In Sonnet 130, there is no use of grandiose metaphor or allusion; he does not compare his love to Venus, there is no evocation to Morpheus, etc. The ordinary beauty and humanity of his lover are important to Shakespeare in this sonnet, and he deliberately uses typical love poetry metaphors against themselves. In Sidney's work, for example, the features of the poet's lover are as beautiful and, at times, more beautiful than the finest pearls, diamonds, rubies, and silk. In Sonnet 130, the references to such objects of perfection are indeed present, but they are there to illustrate that his lover is not as beautiful -- a total rejection of Petrarch form and content. 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.
In 'Sonnet 116', Shakespeare presents his ideas about what love is, with reference to romantic love. We can deduce that he writes of romantic love through the phrase "Let me not... admit impediments", which is reminiscent of marriage vows. Shakespeare outlines his definition of love through a series of images, which is developed through his use of the sonnet form. First of all, Shakespeare believes that love in its truest sense is unchanging. He writes, "love is not love / Which alters when it alteration finds".
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.