While Shakespeare was regarded as the foremost dramatist of his time, evidence indicates that both he and his contemporaries looked to poetry, not playwriting, for enduring fame. This is especially true in our beauty-obsessed culture, which in many ways has not advanced significantly in expanding notions of what it means to be beautiful. Shakespeare satirizes the of the used by conventional poets, which even by the Elizabethan era, had become , predictable, and uninspiring. It is an odd use of metaphor, though. In the sonnets, Petrarch praises her beauty, her worth, and her perfection using an extraordinary variety of metaphors based largely on natural beauties. How we respond to these questions will probably come as much from our own convictions on these issues as it will from the poem itself. I love to hear her speak, yet well I know That music hath a far more pleasing sound; I grant I never saw a goddess go; My mistress, when she walks, treads on the ground: And yet, by heaven, I think my love as rare As any she belied with false compare.
Shakespeare's Sonnets: with Three Hundred Years of Commentary. The dark lady, who ultimately betrays the poet, appears in sonnets 127 to 154. I love to hear her speak, yet well I know I love to hear her speak, but I know That music hath a far more pleasing sound; That music has a more pleasing sound. That line in particular seems almost openly satirizing the tradition itself, as it is well known that many Elizabethan poets would compare their lovers to things that mortals could not achieve, leaving the realm of human to enter the pantheon of the gods. Petrarch, the first modern scholar and man of letters.
The Art of Shakespeare's Sonnets. Tone The tone of Sonnet 130 is definitely sarcastic. I have loved this sonnet for many years at least in part because of Sting! The Shakespearean Moment and its Place in the Poetry of the 17th Century. 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. There are many ways to interpret how the poet's psychological state may have influenced stylistic choices in his writing, but these sonnets do not provide definitive proof. Instead, he urges the reader to understand and accept that true love is not always, or ever, as beautiful as Spenser, Petrarch, and other poets might convince the reader to believe.
Nonetheless, his contemporaries recognized Shakespeare's achievements. Be that as it may, the 'Chandos ' portrait, for various reasons, more than justifies its being kept in the custody of the nation as a very rare and valuable relic of its greatest dramatist. In fact, some coral is white. Lesson Summary It is refreshing to read Sonnet 130 because it avoids the unrealistic, syrupy sentiments that may be found in many other sonnets. The rhetorical structure of Sonnet 130 is important to its effect. At the end of the poem, we realize that the speaker's love is not really unattractive.
Flesch notes that while what Shakespeare writes of can seem derisive, he is in reality complimenting qualities the mistress truly exhibits, and he ends the poem with his confession of love. I love to hear her speak, yet well I know That music hath a far more pleasing sound; I grant I never saw a goddess go; My mistress, when she walks, treads on the ground: And yet, by heaven, I think my love as rare As any she belied with false compare. Shakespeare's sonnet aims to do the opposite, by indicating that his mistress is the ideal object of his affections because of her genuine qualities, and that she is more worthy of his love than the paramours of other poets who are more fanciful. Dun is a word often used to describe the color of a horse, and definitely not the kind of thing a woman would be thrilled to hear about her breasts. For example, it was not uncommon to read love poems that compared a woman to a river, or the sun. That edition, The Sonnets of Shakespeare, consists of 154 sonnets, all written in the form of three quatrains and a couplet that is now recognized as Shakespearean.
In 1599 Shakespeare joined a group of Chamberlain's Men that would form a syndicate to build and operate a new playhouse: the Globe, which became the most famous theater of its time. Shakespeare also makes use of hyperbole, or a figure of speech that makes a point through exaggeration. Even though his lover has all these flaws, he still loves her like she was a goddess. In the final couplet, the speaker proclaims his love for his mistress by declaring that he makes no false comparisons, the implication being that other poets do precisely that. To the same extent that many romantic poets exaggerate the beauty of their mistresses, insisting that their eyes are more beautiful than the sun, their hair fairer than hold or their cheeks redder than roses, Shakespeare decides to exaggerate how unattractive his mistress is. When I consider every thing that grows Holds in perfection but a little moment. It was customary to praise the beauty of the object of one's affections with comparisons to beautiful things found in nature and heaven, such as stars in the night sky, the golden light of the rising sun, or red roses.
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. Or perhaps she is deserving but such words are not necessary, as though the narrator feels comfortable enough with the dark lady that he is able to show such honesty which his insecurity regarding the fair lord prevents him from doing? I think so, and so I like the sonnet : Thanks for reminding me of the wonderful Sting album! We will dissect the sonnet, line by line, in an effort to understand the poem's true message. This along with other similarities in textual content lead, as E. I have seen roses damask'd, red and white, But no such roses see I in her cheeks; And in some perfumes is there more delight Than in the breath that from my mistress reeks. If you compare the stanzas of Astrophel and Stella to Sonnet 130, you will see exactly what elements of the conventional love sonnet Shakespeare is light-heartedly mocking. This creates the effect of an expanding and developing argument, and neatly prevents the poem—which does, after all, rely on a single kind of joke for its first twelve lines—from becoming stagnant. Our speaker has seen beautiful roses like that, but his mistress's cheeks don't remind him of them at all.
This section is just 13. One final note: To Elizabethan readers, Shakespeare's comparison of hair to 'wires' would refer to the finely-spun gold threads woven into fancy hair nets. I have seen roses damask, red and white, But no such roses see I in her cheeks; And in some perfumes is there more delight Than in the breath that from my mistress reeks. Most sonnets, including others written by Shakespeare, praised women and practically deified them. It is still unknown who many of the figures in his sonnets are, or whether or not Shakespeare authored his own works or merely signed his name on completed plays, and convincing arguments exist on both sides. The images conjured by Shakespeare were common ones that would have been well-recognized by a reader or listener of this sonnet.
Little is known about Shakespeare's activities between 1585 and 1592. I used to feel conflicted having to do that in my literary classes: But with that said, I tend to go how it makes me feel and I feel like its a more of a statement on how narrow the idea of beauty was over a declaration of love which came in a distant second You have missed the important point of this sonnet , it is not about the early blooming of love in youthful passion but the lasting love and friendship that endears us to our chosen one. His comparison gives the reader a good idea of what his lover looks like. Is this poem a touching paean to inner beauty opposed to superficiality or is it misogynist trash? When I perceive that men as plants increase, Cheerèd and checked even by the self-same sky, Vaunt in their youthful sap, at height. We wouldn't really expect them to be, would we? The poet must be very secure in his love for his mistress — and hers for him — for him to be as disparaging as he is, even in jest — a security he did not enjoy with the young man. Sonnet 130 is the poet's pragmatic tribute to his uncomely mistress, commonly referred to as the dark lady because of her dun complexion.
As Hubler concludes, love is never anchored anywhere other than the earth. So it's not necessarily bad that she has frizzy black hair. He loves her for what the reality is, and not because he can compare her to beautiful things. Sonnet 130, while similar to other Shakespearean sonnets in the use of poetic devices and techniques, stands apart from most of his other sonnets for its mocking voice and use of satire. The sonnet: its origin, structure, and place in poetry.