Generally, sonnets are divided into different groups based on the rhyme scheme they follow. An English sonnet has specific features that must be present. These include: fourteen lines, written in three, four-line quatrains with one final couplet. How did Shakespeare die?
We don't know the cause of Shakespeare's death, but there is a theory that Shakespeare died after contracting a fever following a drinking binge with fellow playwrights Ben Jonson and Michael Drayton. Why did William Shakespeare write Sonnet ? Category: books and literature poetry. What is the best summary of the central idea of Sonnet ? What is the central idea of the sonnet? Did Shakespeare invent the sonnet?
What poetic devices are used in Sonnet ? What are the elements of a sonnet? What do the last two lines of Sonnet mean? What is Shakespeare's definition of love? What is the mood of Sonnet ? What does Damasked mean in Shakespeare? Who is Sonnet addressed to? How is Sonnet different from other poems? Where is the turn in Sonnet ? Does Shakespeare admire his lady in Sonnet ?
Is Sonnet by Shakespeare a love poem? Black signifies sadness, darkness and evil. The speaker is not talking for somebody else, but for himself and his own mistress.
Both of these colours were already used in the poem; this repetition is stressing that neither the noble white nor the passionate red is found in her. Those colours are linked with femaleness. Roses are also a sign for love and passion, so again the mistress is questioned in fulfilling her role as a woman who is supposed to please a man. The smell of the mistress is described in line seven and eight, where it is said that some perfumes smell much better than she does.
Perfume was in former days a really expensive and worthy object, but it can be seen as a pleasant smell in nature too. This strong word intensifies the statement that nobody comes close to her and establishes a relationship with her. This last quatrain is the first time the speaker says something positive about his mistress. In this times women were not seen as individuals with own talents, so every woman had to have a wonderful voice to sing with.
It was one of the basic things women were taught while they were living at home. Only working women, like servants or farmer's wives, were not supposed to be able to sing perfectly. So the mistress in the poem is seen as a low standard woman, not having a good education. The last comparison is made with a goddess, which is probably the highest thing a woman can be compared with.
He hyperbolizes the ideals of beauty. A graceful goddess is the most perfect being the speaker can think of. The comparisons made from the coral to the goddess are rising up.
On one hand the speaker starts in nature with the coral under the sea and ends with a hovering goddess high over the ground. And on the other hand the value is increasing: from an almost useless coral to a priceless goddess. But the mistress does not even reach the lowest level.
This shows that she actually is not worthy to be loved, but the final couplet is a complete turnaround:. The speaker announces that he loves her, independent from the ideals of beauty men had. His love is higher than anything he was comparing her with previously. The second quatrain takes the reader a little deeper and in the paired lines five and six the notion that this mistress is not your ideal female model is reinforced.
She doesn't have rosy cheeks, even if the speaker has seen plenty of natural damask roses in the garden. If the classic, lovely and fragrant English Rose is absent, at least this mistress has no pretence to a sweet smelling breath. Her breath reeks, which may mean stinks or may mean rises. Some say that in Shakespeare's time the word reeks meant to emanate or rise, like smoke.
Others claim it did mean smell or stink. Certainly in the context of the previous line—some perfume—the latter meaning seems more likely. The third quatrain introduces the reader to the mistress's voice and walk and offers up no extraordinary claims.
She speaks and walks normally. She hasn't a musical voice; she uses her feet to get around. This is nitty gritty reality Shakespeare is selling the reader. No airs and graces from his mistress. Use of irony here is exceptional. Come on. So to the final couplet, a full rhyming affirmation of the speaker's love for the woman, his mistress.
Not only is the speaker being blatantly honest in this sonnet, he is being critical of other poets who put forward false claims about woman. He's not prepared to do that, preferring instead to enhance his mistress's beauty, deepen his love for her. In being brutally open, candid and unconventional, the speaker has ironically given his mistress a heightened beauty, simply because he doesn't dote on her outward appearance.
The dominant metre is iambic pentameter, five iambic feet per line, non-stressed syllable followed by a stressed in da DUM da DUM fashion.
However, there are lines which differ from this steady, plodding beat. Iambic pentameter dominates this sonnet and there are a total of 10 purely iambic lines: 1, 6, 7, 8, 9, 10, 11, 13 and Line 2 begins with an inverted iambic foot—a trochee—with the stress on the first syllable, which alters the flow somewhat before the iambic beat takes over.
Line 3 is ambiguous. Some scan it as purely iambic, others find an inverted iamb—a trochee—after the comma: If snow be white , why then her breasts are dun. Line 4 is also not straightforward. There are a possible two trochees after the comma: If hairs be wires , black wires grow on her head.
Line 5 begins with an inverted iamb—a trochee—placing emphasis on the first person I. Line 12 begins with a strong spondee—two stressed syllables—which reinforces the personal again. For example:. When words beginning with the same consonants are close together in a phrase or line, as in lines:.
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