What are the similarities and differences in sonnet 116 and sonnet 43?
The big difference is in 116 the speaker is an observer of love written in third narrative, and in 43 the speaker is in first person narrative and is part of the subject of love. The similarity is that both are written to validate love.
Does anyone please know whats the difference between Sonnet 116, and Sonnet 55? I've read it but still confused. I need ORIGINAL posts.?
116 says he doesn't say that love isn't real but actually supports love in all his plays and poems and knows what love means. 55 says that his beloved will last forever in this poem when everything on Earth has past, because his poem is so good. His beloved will also be known forever by lovers who read this poem.
Differences and similarities between Sonnet 116 and Sonnet 43?
I've done most of the essay but I need about a 1/4 of a page more for it to be complete. Any help is appreciated. Thanks :) Sonnet 116: 1 Let me not to the marriage of true minds Admit impediments; love is not love Which alters when it alteration finds, Or bends with the remover to remove: 5 O, no, it is an ever-fixèd mark, That looks on tempests and is never shaken; It is the star to every wand’ring bark, Whose worth’s unknown, although his height be taken. Love’s not Time’s fool, though rosy lips and cheeks 10 Within his bending sickle’s compass come; Love alters not with his brief hours and weeks, But bears it out even to the edge of doom. If this be error and upon me proved, I never writ, nor no man ever loved ------ Sonnet 43: 1 How do I love thee? Let me count the ways. I love thee to the depth and breadth and height My soul can reach, when feeling out of sight For the ends of Being and ideal Grace. 5 I love thee to the level of everyday’s Most quiet need, by sun and candle-light. I love thee freely, as men strive for Right; I love thee purely, as they turn from Praise. I love thee with the passion put to use 10 In my old griefs, and with my childhood’s faith. I love thee with a love I seemed to lose With my lost saints!—I love thee with the breath, Smiles, tears, of all my life!—and, if God choose, I shall but love thee better after death.
Think of it as the specific manner, the particular discursive register, the particular verbalization of attitudinal orientation, in or through which the sonnet speaks its content. How is what is being communicated being communicated? With what attitude? From what perspective? Revealing what cognitive and/or emotional states? Is it direct? Sarcastic? Plangent? Defensive?Why did I italicize that last one, hm? And if I am nudging you that defensiveness might be one determinant of the sonnet’s tone, what might explain that fact? Who is the speaker addressing? Why? A poem is a representation of some kind of speech act occurring in some kind of dramatic situation. Why say “Let me not to the marriage of true minds/Admit impediments?” And then proceed to build an elaborate rhetorical case for what such a marriage, and the love on which it is predicated, “is”?Go think about it.
I think the last couplets sums it up pretty well: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.Most love sonnets describe women (people) who couldn’t possibly be real. A magic ideal of perfection that has nothing to do with reality and claims that’s why they love them. Shakespeare basically enhances his love’s bad parts instead of the good and then says he loves her anyway. So he’s making fun of the traditional formula for love poems but he also seems to recent the fact that love is just for the perfect and the ideal. He does that in other sonnets as well most notable sonnet 141.
English sonnets (pertaining to the place, not the language), which have now become synonymous to Shakespearean sonnets, were introduced by Thomas Wyatt. His sonnets were chiefly translations of Petrarch (Italian) and Ronsard (French). The characteristic rhyming scheme was, however, developed by the Earl of Surrey. It was named after Shakespeare because of his great sonnet sequence printed in 1609.On the other hand, the Spenserian sonnet, developed by Edmond Spenser, was not as widely used. Its emergence can be attributed to the pattern Spenser employed in writing The Faerie Queene, a romantic poem written to celebrate Queen Elizabeth I and her reign over an ideal England.Spenserian style is but a variant of Shakespearean.Structure: Both Shakespearean and Spenserian sonnets are fourteen lines of iambic pentameter, divided into three quartains and one couplet. The most noted difference is the one between the rhyming patterns of the two. The Shakespearean sonnet follows the ABAB CDCD EFEF GG scheme. In Spenserian, the quartains are interlocked with the rhyming scheme of ABAB BCBC CDCD EE.Context: Poets like Petrarch, Dante and Philip Sidney had written in the English format, portraying worship-like love for a goddess like, unattainable female ‘love-object’. Shakespeare followed the pattern but explored the themes of lust, misogyny, infidelity, acrimony and homoeroticism. The Spenserian sonnet carries the tradition of the declamatory couplet of Wyatt or Surrey, though Spenser used Sicilian quartains to develop a metaphor, conflict, idea or question logically, with the declamatory couplet resolving it.The Volta: The Volta or the turn is an important component of any sonnet. The Shakespearean sonnet is, more often than not, brought to a punchy resolution in the epigrammatic final couplet, unlike the Petrarchan style. Interestingly, Spenser often indicates a Volta exactly where it would be in an Italian sonnet, with the use of “but” or “yet”. But if one looks closely, it is observed that the turn isn't one at all. Similar to Shakespearean, the Volta is delivered in the final couplet, which is again different from the Petrarchan style.
Sonnet 18 is addressed to a young man known only as “WH.”Some scholars consider this a homoerotic poem. No one is sure if WH was a real person, or who he might have been.Sonnet 130 is addressed to “The Dark Lady.” Again, no one is sure who she was or if she really existed.
It would be useful to mention this is by Shakespeare.The sonnet begins with desolation, with sadness and lost hope, and jealousy of the happiness and good fortune of others.Then it changes in the last lines, as he remembers his love, mentioning the soaring larks (nature) at heaven’s gate (faith), as an analogy of his feelings. Transformed by love, his spirits soar and happiness is regained, so much so, that he feels greater than a King.