Shakespeare used this device to upset the normal flow of language and bring attention to the mid-point of the sonnet.
Shakespeare breaks with convention and creates a parody of tired Petrarchan ideals. he sees no such roses in his mistress’s cheeks; and he says the [10] However, William Flesch believes that the poem is actually quite the opposite, and acts as a compliment. Iambic pentameter dominates this sonnet and there are a total of 10 purely iambic lines : 1,6,7,8,9,10,11,13 and 14. Pentameter means that each line is divided up into five feet.
And yet, by heaven, I think my love as rare, Sonnet 130: Complimentary/derisive nature. © 2020 Houghton Mifflin Harcourt. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. Than in the breath that from my mistress reeks. sequence: the idealizing love poems, for instance, are written not B, I have seen roses damasked, red and white, C, And in some perfumes is there more delight C, Than in the breath that from my mistress reeks. I love to hear her speak, yet well I know SparkNotes is brought to you by Barnes & Noble.
Rpt.
Sonnet 130 takes place near the beginning of the series of “dark lady” sonnets. An initial reversal is potentially present in line 8, and mid-line reversals occur in lines 4 and 12, and potentially in line 3. Poets like Thomas Watson, Michael Drayton, and Barnabe Barnes were all part of this sonnet craze and each wrote sonnets proclaiming love for an almost unimaginable figure;[5] Patrick Crutwell posits that Sonnet 130 could actually be a satire of the Thomas Watson poem "Passionate Century of Love", pointing out that the Watson poem contains all but one of the platitudes that Shakespeare is making fun of in Sonnet 130.
The way she walked was not the way of … My mistress’ eyes are nothing like the sun; . The speaker accepts that his lover isn't a paragon of beauty but a real woman with wiry black hair, off-white breasts and a stinking breath. His mistress, says the poet, is nothing like this conventional image, but is as lovely as any woman". She hasn't a musical voice; she uses her feet to get around. to the dark lady are anything but idealizing (“My love is as a fever, All three of these authors; Steele, Booth, and Vendler believe that in this couplet, Shakespeare is responding to Petrarchan imagery because other sonneteers actively misrepresent, or "belie" their mistress' beauty. 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. There are many others, and the tradition of fulsome praise in this vein stretches back to Petrarch and his sonnets to Laura.
D, I love to hear her speak, yet well I know E, That music hath a far more pleasing sound; F, My mistress, when she walks, treads on the ground. And in some perfumes is there more delight. This is a name for a certain pattern of beats called ‘feet’. the truth. [12] Stephen Booth would agree that Shakespeare references Petrarchan works however, Booth says that Shakespeare "gently mocks the thoughtless mechanical application of the standard Petrarchan metaphors. So to the final couplet, a full rhyming affirmation of the speaker's love for the woman, his mistress.
Rpt.
In the "[13] Felicia Steele and Stephen Booth agree that there is some referencing going on, they vary slightly in the degree of Shakespeare's mockery. [6] However, E.G. The rhyme scheme is typical: abab cdcd efef gg and all the end rhymes are full, for example white/delight and rare/compare. My mistress’ eyes are nothing like the sun; Coral is far more red then her lips’ red; If snow be white, why then her breasts are dun; If hairs be wires, black wires grow on her head. It is clear from these 28 sonnets that the speaker was deeply in love with this woman, yet torn emotionally because she lied, was deceitful and cruel. Sonnet 130 becomes more abstract as it progresses. My mistress' eyes are nothing like the sun; A, Coral is far more red than her lips' red; B, If snow be white, why then her breasts are dun; A, If hairs be wires, black wires grow on her head. For example: When words beginning with the same consonants are close together in a phrase or line, as in lines: When the same or similar vowels in words are close together in a line or phrase, as in lines: Repeating words or phrases strengthens meaning and places special emphasis on them. In many ways, Shakespeare’s This sonnet compares the poet's mistress to a number of natural beauties; each time making a point of his mistress' obvious inadequacy in such comparisons; she cannot hope to stand up to the beauties of the natural world. Shakespeare doesn't hold back in his denial of his mistress's beauty.
By accepting her faults: In faith, I do not love thee with mine eyes, For they in thee a thousand errors note; (from Sonnet 141). second and third quatrains, he expands the descriptions to occupy Others claim it did mean smell or stink. Some say that in Shakespeare's time the word reeks meant to emanate or rise, like smoke. William Shakespeare's Sonnet 130 mocks the conventions of the showy and flowery courtly sonnets in its realistic portrayal of his mistress. Imagine that, comparing your lover's hair to strands of thin metal. . Poets like Thomas Watson, Michael Drayton, and Barnabe Barnes were all part of this sonnet craze and each wrote sonnets proclaiming love for an almost unimaginable figure;[5] Patrick Crutwell posits that Sonnet 130 could actually be a satire of the Thomas Watson poem "Passionate Century of Love", pointing out that the Watson poem contains all but one of the platitudes that Shakespeare is making fun of in Sonnet 130. The speaker (the poet) is again implying the ordinariness of his lover's looks and voice. mistress’ eyes aren’t at all like the sun. [10] However, William Flesch believes that the poem is actually quite the opposite, and acts as a compliment. In lines three and four the anatomy of the mistress is further explored in unorthodox fashion. My mistress’ breath reeks compared to perfume. You could describe it as a ‘twist’. nature and the poets’ lover that were, if taken literally, completely The meter demands that line 13's "heaven" function as one syllable. There is a subtle but noticeable difference in rhythm between these two. Rogers points out the similarities between Watson's "Passionate Century of Love," Sonnet 130, and Richard Linche's Poem collection entitled "Diella. Influences originating with the poetry of ancient Greece and Rome had established a tradition of this, which continued in Europe's customs of courtly love and in courtly poetry, and the work of poets such as Petrarch. The English sonnet has three quatrains, followed by a final rhyming couplet. 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. named Laura. They are devoted to the main idea of the poem, with the poet talking of his mistress in less than complimentary terms. In the first quatrain, the speaker spends one
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