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meal
05/09/2009 17:59
made out of necessity
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Commentaire de salam. (20/10/2009 19:52) :
salam.iwa bsaha wakaha mabanch liya mazyan ach fiha.
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univer
05/09/2009 17:53
univ stad
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univ
05/09/2009 17:49
univer
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chapter three
16/05/2009 16:30
I. Shakespearean tragedy and tragic heroes:
Shakespeare’s tragic plays are pre-eminently stories of one hero and sometimes of a hero and a heroine if we take into consideration his love tragedies (Romeo and Juliet, 1594, and Antony and Cleopatra, 1606). In these plays, the heroine is as much at the center of action as the hero. The rest of the plays, including Hamlet (1600), Macbeth (1605), and Othello (1604) have single heroes.
<http://www.shakespeare-online.com/keydates/playchron.html
So, the tragic story is concerned mainly with one hero.
ζ Tragedy:
No play that ends with the hero alive is, in the Shakespearean sense, a tragedy. The story of the play describes the troubled of the hero’s life which leads up to his death. A tragedy is, in fact, a tale of suffering and calamity that leads the hero to destruction. Shakespeare’s tragic heroes are men of high position, and the calamities that befall them are unusual and exceptionally disastrous. These heroes, unexpectedly, fall from a high place, a place of glory, honour or joy. Thus, the catastrophe that befalls them is very influential. A tale, for instance, of men who die because of disease, poverty, sordid vices or little cares would not be tragic in the Shakespearean sense of the word. Such exceptional calamity, then, affecting the hero, and generally extend far beyond him, so as to make the whole scene a scene of sadness, are essential parts in tragedy.
ζ Shakespearean tragic heroes:
Only great men qualify as tragic heroes. Peasants, for example, do not inspire pity and fear as great men do. The death of a peasant affects only the people around him, but the death of a great man (prince, emperor, king…) affects the welfare of a whole nation or an Empire. When he falls from the status of greatness, his fall produces a sense of contract between the powerlessness of man and the omnipotence of fate. Such feelings are constantly invoked in Shakespeare’s tragedies.
« Tragedy, human flaws and responsibility:
Human beings undergo certain situations, and as a reaction, certain actions appear. These actions can lead to complications that can cause an inevitable catastrophe. This fact makes us aware that we should consider this catastrophe not only as something that happens to the persons concerned, but also as something caused by them. This may be said of the main characters and mainly of the hero who always contributes in some way to the disaster in which he perishes. In Shakespeare’s tragedies, the hero recognizes his responsibility for the catastrophe befalling him too late to pre-empt his death.
« The supernatural and chance in tragedy:
The supernatural elements can not, in most cases, be explained as only illusion in the mind of one of the characters. The supernatural does contribute to the action, and this is clearly seen when Hamlet is told by the ghost to take revenge from Claudius.
Chance is a prominent fact of life. That men may start a course of events but can neither calculate, nor control it, is a tragic fact. Shakespeare may use accident to make us feel this. This idea of accident is shown when Desdemona (Othello) drops the handkerchief which is given to her by her husband, Othello. However, we should know that any large use of accident may weaken the fact that the heroes are somehow responsible for their actions. Shakespeare uses accident carefully. The fact that Romeo never gets Friar Lawrence’s letter and that Juliet does not wake up a minute sooner, or that Desdemona loses her handkerchief at exactly the fatal moment show that we would better consider what appears to be accidents as being connected and caused equally by chance and by characters themselves.
It is therefore inherent in Shakespearean tragedy that the tragic hero or protagonist is responsible through his own behaviour or action for the exceptional nature of the catastrophe itself.
« Qualities of the tragic heroes:
The tragic heroes are exceptional beings. Being of high position is not everything. The nature of the tragic hero is also exceptional, and it exalts him much above the average level of humanity. They have a natural ability that carries with it a touch of greatness, fierce determination, and fixed ideas. When the nobility of mind, or genius, or immense force are joined to this greatness, we become conscious of the full power of their soul that stirs not only sympathy, but also admiration and awe. (Bradley, 1985, p: 13).
« The tragic heroes commit a tragic mistake:
In the circumstances where we see the hero placed, this tragic flaw, which adds a sense of greatness, is fatal to him. The hero makes an error, by action or omission, and his error, plus other causes, brings about his ruin. This fatal error is of different kinds and degrees. This is seen in the fact that some heroes, like Romeo, Othello and Brutus do not realise their flaw until the last moment of their fall, whereas others, like Richard and Macbeth have already murderous ambitions and are, thus, more responsible for their fatal error. The characteristics by which these two heroes are characterized make us feel that we should not admire them, but the way Shakespeare represents them pushes us to unconsciously feel that they are great.
« The tragic heroes do not need to be good:
They do not need to be good in the sense that their greatness and the calamities that befall them at the end push us to sympathize with them. Therefore, we may say that a Shakespearean dram can never be depressing. One would never close the book with the feeling that man is a poor, mean creature. Man may be wretched and awful, but he is not small. This is man’s nature according to Shakespeare
So, a good definition of the term ‘tragedy’ in the Shakespearean sense would be:
“A story of exceptional calamity leading to the death of a man of high estate, and a story of human actions, producing exceptional calamity in the death of such a man.” (Bradley, 1985, p: 6-29)
« The tragic hero and his fall:
In Shakespearean tragedy, we deal with a man of high estate: a general, a prince, a king, etc. normally, we hear about him from others before he makes an entrance in the play. Through the eyes of others, we are given the first impression of the greatness of the tragic hero. Within the first two acts, we become conscious of a driving force within the hero. This force is almost obsessive in nature. We also may see the nature of the inner suffering that the hero undergoes as he follows his obsession, like Hamlet when he is charged with the idea of avenging his father’s murder. We see both Macbeth’s potential for greatness and his obsessive ambition; we see both Othello’s greatness as a general and human being and his naïve, trusting nature that is easily turned into an obsessive jealousy by Iago, the antagonist in Hamlet. The inner and outer conflicts that the hero faces make time more important. A sense of urgency develops with the plot and the conflict, creating tension and inevitability regarding the fall of the hero. The urgency continues significantly in the third act. Often, the tragic mistakes that the heroes commit are caused by miscalculations, chance or accident and the supernatural suggestion as it is the case in Hamlet. As the flow and the miscalculations continue, new conflicts and complications appear. This causes the death or gradual alienation of all forms of support of the hero, so that by the end, he must face the opposing forces and the responsibility for his action alone. What we may see during the process of isolation is suffering, sleeplessness, rage, confusion and violence. At some point in the play, the opposing forces will begin to mobilize against the hero to bring tragedy to its conclusion. The hero is confronted by an enemy in the fifth act who seeks his death and destruction (Iago in Othello, for instance). At about this point in the play, the hero realizes the error which is bringing about his fall. Then, the hero shows us a sense of courage or at least a nobility of heart. Sometimes, at this inevitable moment, we are left with the feeling that Othello, for instance, is a monster since he has killed the innocent Desdemona. However, when we see the suffering and melancholy that he feels, and when we witness his suicidal act, we surely sympathize with him. We say if only he had realized Desdemona’s innocence; if only he had not made that mistake.
II. The tragic structure in Shakespeare’s plays:
The tragic structure in Shakespeare’s plays consists of three main parts:
ζ Exposition: this first part explains in detail the situation or state of affairs, out of which the conflict rises up. So, exposition is the task of the first act and often part or most of the second act. Here, we become aware of the general setting, the persons, character traits, problems of the play, and the conflicts or potential conflicts. When the second act is completed, we recognize the main problem of the play, the major conflict, the players in the conflict and our tragic hero.
ζ Development:
Rising action: the second part of the structure concerns a definite beginning, the growth and nature of the conflict, and forms of the main part of the play. It consists of the second, third and fourth act and usually part of the first act and part of the fifth. The division shows the developing complications that arise from the conflicts as the problem intensifies. Time and a sense of urgency become more important as the speed of the action increases.
Falling action: from act two onwards, we see the rising of the action, during which the hero is powerful. However, in the fourth act, there is a reversal of the situation. Opposing forces start to openly resist and make plans in order to remove the tragic hero. Now, the power of the hero is declining as the power of the opposition advances.
ζ Tragic resolution: in the final acts, then, the opposition reaches its full strength and defeats the isolated, helpless hero. At this point, we also become aware of the greatness of the soul that has just been destroyed.
III. The analysis of Hamlet:
Hamlet is the longest play that Shakespeare has ever written. It includes the immortal line, “to be or not to be: that is the question.” In Hamlet, the calamities that befall characters, especially Hamlet, are heavily affected by the presence of the supernatural element, the sense of melancholy and revenge and the nastiness of Hamlet’s uncle, Claudius. Hamlet’s reluctance in executing his revenge seems to be the crucial cause that has brought his destruction. Love is put on the margin, causing Hamlet to unique among Shakespeare’s plays. So, to what extent do the elements mentioned above influence the events of the play?
At the very beginning, we can see that hamlet lives in a state of melancholy and longing for death. The appearance of the ghost supports the fact that the supernatural power affects the events of the play. The ghost of King Hamlet tells young Hamlet to avenge him by killing Claudius, who is the current king. Now, Hamlet is uncertain of whether the ghost is truthful or he is just a devilish spirit. This idea of scepticism is clearly seen in his soliloquy:
To be or not to be, that is the question: whether ‘tis nobler in the mind to suffer The slings and arrows of outrageous fortune or to take arms against a sea of troubles, and by opposing end them: to die to sleep; (Shakespeare, 1994 p.81)
This extract of Hamlet’s famous soliloquy does not only stress the idea of scepticism, but also it suggests the agony and misery that young Hamlet suffers from. He is depicted as “a figure of nihilism and death” by Edwards (1983, 43-52). However, it may be said that Hamlet did not choose to be in such a situation that brings about his thinking to commit suicide, “to die to sleep” (Shakespeare, 1994 p.81). The remarriage of his mother soon after his father’s death, the coldness of his lover, Ophelia, and his doubt about the truthfulness of the ghost may justify Hamlet’s sense of committing suicide.
When Hamlet has made sure that his uncle, Claudius, has indeed poisoned his father, he turns into a character of revenge. He deems killing his uncle as a divine mission that is given to him through the appearance of the ghost. Now, Hamlet thinks that he is the saviour that can put an end to evil. Some readers may blame hamlet for having considered Claudius guilty without having solid evidence. They may think that Hamlet should not judge his uncle according to the reaction he has made during the performance of “the Murder of Gonzago.” Some would go further and say that the ghost is just an evil spirit that wishes nothing but destruction. However, I would say that they are somehow wrong in the sense that the ghost has indeed told the truth about the nastiness and criminality of Claudius. The latter hankers after the throne and in the way to that, he sacrifices his brother. As we can see in the play, Claudius is the representation of evil and wickedness. Inspite of these facts that are associated with this villainous character, Bradley in his book, Shakespearean tragedy (1985, p.136), describes him in positive terms:
“King Claudius rarely gets from the reader the attention that he deserves. But he is very interesting, both psychologically and dramatically. On the one hand, he is not without respectable qualities. As a king he is courteous and never undignified; he nowhere shows cowardice.”
I may say that Claudius attracts the attention that he really deserves. Such a wicked character can not be interesting in the sense that most readers would have a negative impression about his devilish deeds when they finish the play. Bradley states above that “he nowhere shows cowardice”, but I would rather that he shows cowardice many times during the play. First, when he kills his brother by poisoning him. A brave man would confront his enemy instead of making recourse to such ridiculous plans, like poisoning. Second, Claudius sends Hamlet to be killed in England instead of doing it himself. Moreover, his arrangement of the fight between Hamlet and Leartes, Ophelia’s brother, and his plan to poison Hamlet at the end of the play make of him a ream coward.
Reluctance and delay are two pre-eminent elements that bring about the fall and the tragic end of the hero, Hamlet. Hamlet is unable to take his revenge from Claudius. He seems reluctant when he has the right opportunity to kill the person that has poisoned his father. This reluctance is best qualified in Hamlet’s Soliloquy:
Now might I do it pat, now he is praying: And now I’ll do it: and so he goes to heaven, And so am I revenged: that would be scanned, (Shakespeare (1994) p.101)
Hamlet thinks that if he kills Claudius while praying, he would send his soul to heaven. Hamlet believes in the fact that if somebody dies during prayer, he or she would go to heaven. In this respect, Hamlet does not want his uncle’s soul to be sent to heaven. He wants to kill the body as well as the soul. It is at this moment of praying that Claudius confesses his crime, but secretly. The first five words of the soliloquy above,” now might I do it”, show that Hamlet has no effective desire to “do it”, and in the sentences that follow, Hamlet decides to delay his mission because that should be “scanned”. This is the tragic flaw that Hamlet and others will pay for. In the process of postponing his revenge, Hamlet kills Polonius, Ophelia’s father, through the curtain thinking that he is Claudius. The death of Polonius causes madness to Ophelia and create enmity between Hamlet and Polonius’ son, Leartes. Depending on these events, one will easily deduce that the tragic end is caused mainly by reluctance.
To put a word for Gertrude, Hamlet’s mother, she, as Bradley (1985, p.135) states,” loves to be happy, like a sheep in the sun.” Her marriage soon after her husband’s death has given a way to Edwards (1983, 43-52) to claim that she has been unfaithful to her husband. Edwards writes:
“It is abundantly clear that Claudius seduced Gertrude in the old king’s lifetime. It is the thought that this complaisant woman was accustomed to sleep with either of two brothers which gives special force to the idea of incest.”
I would support this idea since such a woman that seeks only her happiness regardless of the feelings of others can be also adulterous. In this regard, she marries Claudius despite her knowing that it might hurt her son, Hamlet. However, it may be said that queen Gertrude has died a better woman than she has lived. This is obviously seen in her last endearment words towards young Hamlet:
No, no, the drink, _O my dear Hamlet, _ The drink, the drink! I’m poison’d. (Shakespeare,1994,p.153) [Dies]
The notion of love, in the play, is set on the margin. The sense of melancholy and sadness that fill Hamlet’s heart hinder him from strengthening his love affair with Ophelia. This does not mean that his love for her is a weak one. On the contrary, Hamlet loves Ophelia strongly. This fact is revealed in:
I loved Ophelia; forty thousand brothers Could not, with all their quantity of love, Make up my sum, (Shakespeare, 1994, p.141).
We may take it for granted that he uses the past tense,” loved,” merely because Ophelia is dead, and not he had once loved her and now no longer does. Ophelia might be blamed for not having been a real heroine, for not having helped Hamlet. She even joins the plot of getting the secret behind Hamlet’s supposed madness. However, it may be said that Ophelia is depicted as being just a child that naturally obeys her father, but certainly she has given to Hamlet all the love of which her nature is capable.
Shakespeare seems to have determined that his hero should exhibit, in his latest hour, all the glorious power and all the nobility and sweetness of his nature. Hamlet forgives Leartes; he remembers his mother and bids her adieu, ignorant that she has preceded him. Horatio, Hamlet’s friend, reveals the sweetness and nobility of Hamlet when he says:
Now cracks a noble heart. Good night, sweet prince, And fights of angels sing thee to thy rest. (Shakespeare, 1994, p.154-155).
In conclusion, I may say that Hamlet is a clear representation of the tragic play. The calamities and destruction that befall the hero and others around him make of the play an epitome of tragedy. What is noteworthy is the absence of a real heroine that can sacrifice everything for the sake of her lover as in other plays, like Othello. Hamlet is mainly affected by the sense of revenge. Hence, it may be said that it is worth being called a revenge tragedy.
IV. The analysis of Othello:
Othello is the most painfully exciting and the most the most terrible tragedy. From the moment when the temptation begins, the reader’s heart and mind experience the extremes of pity and fear, sympathy and repulsion, sickening hope and dreadful expectation. Sweetness of heart, true love, confidence, innocence and suspicion are interrelated themes that are used in this play. In this analysis, in addition to the themes mentioned above, I will shed light on how Evil, jealousy and the absence of confidence can lead to the tragic end.
A.C.Bradley (1985, p.145) states that “the action and catastrophe of Othello depend largely on the intrigue.” Indeed, Iago’s intrigue against Othello shows clearly this fact. Life and death of characters depend on this intrigue. The latter becomes the source of tension in which pain almost overpowers pleasure. The reader feels very excited to know about the coming events. The influence of accident is so terrible in the play. It is terrible to the extent that it becomes one of the major reasons that have led to the disastrous death of Othello and Desdemona. The latter drops the handkerchief at the moment most favourable to the fox-like character, Iago. This accident, as we can see in the play, makes it easy for Iago to push Othello to suspect the faithfulness of his sweet wife, Desdemona.
Othello is exceptionally noble. He has a great heart and he is pure and tender. Hesitation is impossible to him. He puts an entire confidence in the honesty of Iago. This is the tragic mistake that Othello is blamed for. He has never suspected Iago who happens to be the enemy who with cunning plans will bring about the destruction of Othello’s life. The fact that Othello is noble is seen in Lodovico’s words when he has just known about the death of Desdemona and the suicide of Othello:
Is this the noble Moor whom our senate Call all in all sufficient? Is this the nature Whom passion couldn’t shake? Shakespeare (1970, p.117)
Readers, especially westerners, may claim that Othello’s violent act, killing Desdemona and committing suicide, originates from his race. Because of Othello’s dark colour, it may be said that he belongs to the oriental world. To the westerners point of view, Orientals are associated with savagery regarding female chastity. They (Orientals) easily become nervous and can react violently at anytime, especially when it comes to being betrayed by women. However, this is not true. That is to say, Othello’s act does not originate from his being black or Oriental. Any man situated as Othello is would be disturbed by Iago’s communications, and I add that many men would be jealous. Bradley states that “if anyone had told Shakespeare that no Englishman would have acted like the Moor, I’m sure he would have laughed.” As we can see, even this famous critic argues that the idea of race has nothing to do with Othello’s act (1985, p.152).
What is strikingly bad in Othello is the shameful way by which the innocent Desdemona is treated. She is treated as the inmate of a brothel. For her, to be distrusted is a great agony. She is helpless because her nature is infinity sweet and her love is absolute. Chute (1951) writes that:
Desdemona can not stop the tragedy because she can not understand the violence of her Moorish husband. An ordinary woman would have realized that he was insanely growing jealous, but Desdemona merely thought that he was troubled by political problems since she knew that he loved her and she had done nothing wrong. Desdemona’s suffering is like that of the most loving dumb creatures tortured without cause by the beings they adore (p.89).
Desdemona’s father thinks that her love for the Moor is unnatural, but as I think, Bradley (1985) has given a good explanation for this love to anyone who might deem it strange:
“Desdemona, the “eternal womanly’ in its most lovely and adorable form, simple and innocent as a child, ardent with courage and idealism of a saint, radiant with that heavenly purity of heart…had no theories about universal brotherhood, and no phrases about” one blood in all the nations of the earth’ or’ barbarian, Scythian, bond or free’; but when her soul came in sight of the noblest soul on earth, she made nothing of the shrinking of her senses, but followed her soul until her senses took part with it, and ‘ loved him with the love that was her doom(p.164).”
Desdemona is regarded as being the sweetest and most pathetic character in Shakespeare’s plays. She seems to know evil only by name, but unfortunately she is distrusted by the person whom she loves so much.
Jealousy can cause catastrophic effects if it is not wisely controlled. Othello, convinced that Desdemona is unfaithful, thinks that by killing her, he is not committing a crime but a sacrifice. He thinks that the “unfaithfulness” of Desdemona brings with it a sense of humiliation and shame. Othello thinks that he is saving her from herself since it is a shame for an adulterous woman to stay alive. He does not realize, to his bad luck, Desdemona’s sweetness of heart. Accordingly, he simply and with no mercy kills her in her own bed. This jealousy that has brought about the calamities of the tragic hero is caused by the Evil of the cunning character, Iago. Amanda Mabilard states, in an essay entitled “Othello Analysis,” that “Othello is as much a victim of Iago’s evil as Desdemona is of Othello’s wrath.” http://www.”Othello Analysis.” Shakespeare online. Com. Othello.html. This critic wants to show that Iago affects to a further extent the events of the play. Iago’s plot is built on his knowledge of Othello’s character, and could not otherwise have succeeded. In other terms, Iago knows well the naïve and trustful nature of Othello which can be easily twisted into a destructive jealousy. Bradley (1985, p.145) states that “Iago’s intrigue occupies a position in the drama for which no parallel can be found in other tragedies. Evil has nowhere else been portrayed with such mastery as in the character of Iago.
Amanda stresses that “when Othello finds out that Desdemona is truly the pure and innocent emblem he created in his mind, he is obliged to commit suicide.” This is fair because Othello will never forgive himself for killing the person that he truly loved. Othello’s remorse, suicide and his noble heart are the major reasons that may push us not to place him on the same villainous level as Iago. Unfortunately, Othello’s act is not to be easily accepted, and what aggravates his position is the fact of not letting Desdemona defend herself. He even does not postpone his cruel punishment. This is clearly seen in his dialogue with her before the inevitable moment:
Desdemona: kill me to-morrow; let me live tonight!
Othello: Nay, an you strive£
Desdemona: but half an hour!
Othello: being done, there is no pause.
Desdemona: but while I say one prayer!
Othello: it is too late. (Shakespeare, 1970.p.142)
As we can observe, this dialogue shows the cruelty of Othello towards his sweet and completely innocent wife.
Iago seems to be delighted while performing an act of evil. This is shown in these two lines:
Let us/be conjunctive in our revenge against him.
If thou canst cuckold him, thou dost thyself a pleasure, me a sport. (Shakespeare, 1970.p.51)
Iago does not care about the suffering of others. Iago has no conscience, no ability to perform good deeds. He is not capable of performing affectionate relationships or feeling guilt or concern over his behaviour. His nature does not enable him to see the goodness in anyone or anything; he is driven by a lust for evil beyond his control. However, his skills in manipulating others remain extraordinary and certainly make him comparable to Satan.
As a matter of fact, this play is very interesting and it is well worth analysing because of the crucial issues it discusses, like jealousy and Evil which have indeed led to the destruction of Othello. The latter is easily tempted by the villainous character, Iago, who is responsible to some extent for the traffic end of the play.
V. Comparison between Hamlet and Othello:
Hamlet and Othello have many characteristic in common, like Evil, the tragic end, the tragic flaw and suspicion. However, it may be said that these tow plays differ in a number of ways. Depending on three main characters from each play, I will illustrate the major differences between Hamlet and Othello.
Both hamlet and Othello qualify as tragic heroes, but Hamlet is more at the centre of the events than Othello. In other terms, Hamlet is completely aware of his enemy, Claudius, whereas Othello is totally ignorant of the person that has ruined his life. Othello seems a little stupid in the sense that he distrusts his wife, Desdemona, and believes in the fidelity of the villainous Iago. Moreover, Hamlet is apparently associated with reluctance as opposed to Othello who does not hesitate even for a moment to kill his sweet Desdemona.
After making a brief comparison between Hamlet and Othello, I move to compare their antagonists, Claudius and Iago. Iago is apparently more devilish than Claudius because he seeks evil even if he is not in danger. He can kill anyone that may create trouble for him or hinder him from progressing. He is a spiteful character who never forgives. This does not mean at all that Claudius is a good character since he too commits devilish deeds. The sharp difference between these two characters lies in the fact that Iago is more at the centre of events than Claudius. Iago’s domination of the events may give us the impression that he is the hero and not Othello. Another difference is that Iago’s plans are more efficient as no one knows about them till the moment of the fall of the hero as opposed to Claudius’ plans which are already known by Hamlet.
Desdemona, the sweet, faithful, all-loving and innocent character is totally different from the child-like, Ophelia. The latter lets her lover down and simply obeys the unreasonable warning of her father. She even spies on Hamlet to get the reason behind his sudden madness. She tells him a lie by claiming that her father is not at home when he is there spying on them. Desdemona would not certainly do that. She breaks the social rules and conventions for the sake of Othello. She even says, while she is dying, that Othello is not the person who has smothered her. This is considered angelic since it shows clearly the sweetness of heart and the greatness of this woman, who is unfortunately distrusted by her husband.
Ultimately, I may say that despite these differences, still the plays qualify as tragic because the agonies and calamities that take place at the end support their being tragic. In other terms, the basic theme of Shakespearean plays is always tragedy.
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chapter two
16/05/2009 16:26
As I mentioned in the introduction, in this chapter, I will define the sonnets in general. After that, I will shed light on the three types and forms of the sonnets. This chapter also focuses on the major themes of Shakespearean sonnets. These themes will be illustrated through analyzing six selected sonnets (3, 2, 12,129,130, and 134).
http://www.shakespeare-online.com/sonnets/
I. The sonnet: Definition types and forms
1. The sonnet’s definition and types:
The sonnet is one of the poetic forms that can be found in lyric poetry from Europe. The term ‘sonnet’ derives from the Occitan word ‘sonnet’ and the Italian word ‘sonnetto’, both meaning “little song.”
http://en.wikipedia.org/wiki/Sonnet
Evan (1996) defines it as:
“A fourteen line poem usually written pentameter verse (…). The fourteen line sonnet can be divided into two sorts, the Italian or Petrachan on one hand and the Shakespearean on the other (p.8).
There is a third form added by researchers which is the Spenserian sonnet. It is also well-known, but far less commonly used than either the Petrachan or the Shakespearean sonnet.
2. The sonnet’s forms
ζ The Petrachan Sonnet:
The Italian sonnet form is commonly called the Petrachan sonnet, named after Francesco Petrach who was born in Arezzo on July the twentieth, 1304).
http://petrarch.petersadlon.com/submissions/Donaldson.html
According to Evan (1996), the Petrachan sonnet is composed of:
“ An octave-an initial passage of eight lines rhyming ABBAABBa-followed by a sestest-six lines requiring only that each line has a rhyming mate”(p.7-8).
The octave usually presents an idea, raises an argument, makes a proposition, or poses a problem. A turning point ("Volta") occurs between the octave and the sestet, and the sestet develops out of the octave by illustrating the idea in the octave, varying it, responding to it, or solving the problem it poses.
http://www.essortment.com/all/sonnetlyricwha_rufa.htm
ζ The Shakespearean sonnet:
Shakespeare did not invent the English sonnet form, but he is recognized as its greatest practitioner. Therefore, the English sonnet is commonly called the Shakespearean sonnet. It consists of three quatrains ABAB, CDCD, EFEF, and it is concluded with a rhymed couplet, GG. According to Fuller (1972, p.14), It can be illustrated in this way:
As with the structure of Petrachan sonnet, that of the Shakespearean sonnet influences the kinds of ideas that will be developed in it. For example, the three quatrains may be used to present the parallel images, with the couplet used to tie them together or to interpret their significance.
ζ The Spenserian sonnet:
This third form of the sonnet is well-known but far less commonly used than either the Petrachan or the Shakespearean sonnet.
“It is named after Edmund Spenser. It has three quatrains, rhyming ABAB BCBC CDCD, followed by a couplet, rhyming EE. The linked rhymes of its quatrains suggest the linked rhymes of such Italian form as terza rima.” ‹http//:www.wisegeek.com/what-is-a-sonnet.html›
II. The analysis of the six selected sonnets:
As I mentioned in the introduction, the focus in this chapter is on the analysis of some selected sonnets, through which we can detect the Shakespearean major themes being included in these sonnets.
« Sonnet Three:
Look in thy glass, and tell the face thou viewest A
Now is the time that face should form another; B
Whose fresh repair if now thou not renewest, A
Thou dost beguile the world, unbless some mother. B
For where is she so fair whose unear'd womb C
Disdains the tillage of thy husbandry? D
Or who is he so fond will be the tomb C
Of his self-love, to stop posterity? D
Thou art thy mother's glass, and she in thee E
Calls back the lovely April of her prime: F
So thou through windows of thine age shall see E
Despite of wrinkles this thy golden time. F
But if thou live, remember'd not to be, G
Die single, and thine image dies with thee. G ‹http://www.shakespeare-online.com/sonnets/3.html›
• Analysis:
This sonnet is concerned with the theme of procreation. It is addressed, as scholars agree, to the Earl of Southampton or simply to
“The ‘Fair Lord’ who happened to support Shakespeare financially.” http://www.gradesaver.com/author/shakespeare/
At the very beginning of the sonnet, we observe that Shakespeare addresses a young man telling him to see his face in the mirror. He says to him that it is time for that face to form another. In other words, Shakespeare tries to convince the young man to father a child because it is the best way to immortalize his beauty. The freshness of youth does not last eternally; it needs to be renewed through procreation. The young man is selfish in the sense that he does not want to share his beauty with the world and with the woman that can happily accept him as a husband. This is clearly seen in,” Thou dost beguile the world, unbless some mother.”
In the second quatrain, Shakespeare states that every woman is ready to marry this young man because of his beauty. Being unmarried and selfish, the young man will stop posterity.
The third quatrain is a description of how children can be the mirror through which parents can see themselves. Despite old age, parents can remember and live once again the old times through the life of their children. This is a good argument that William uses so as to convince “the Fair Lord” that the only way to keep his beauty and youth is by having a child.
The couplet seems to be an implicit warning to the young man. It tells him that if he chooses not to be remembered, he will die single. As a result, his image will die with him. He will not have the chance to see himself through his child since he is selfish and proud of his mortal beauty.
« Sonnet Two:
When forty winters shall beseige thy brow,
And dig deep trenches in thy beauty's field,
Thy youth's proud livery, so gazed on now,
Will be a tatter'd weed, of small worth held:
Then being ask'd where all thy beauty lies,
Where all the treasure of thy lusty days,
To say, within thine own deep-sunken eyes,
Were an all-eating shame and thriftless praise.
How much more praise deserved thy beauty's use,
If thou couldst answer 'This fair child of mine
Shall sum my count and make my old excuse,'
Proving his beauty by succession thine!
This were to be new made when thou art old, and see thy blood warm when thou feel'st it cold. (Shakespeare, William.1963, p.7)
• Analysis:
The theme of the necessity of procreation is also found in sonnet two. Shakespeare uses reasonable arguments by which he tries to make “the Fair Lord” father a child.
The first quatrain is concerned with how time can change people from being young and beautiful into being old and ugly. “When forty winters,” the term ‘winters’ refers to the time. The latter “digs deep trenches in beauty’s field.” In other words, it has destructive effects on the freshness of youth. Shakespeare stresses that beauty will not last, and that it is selfish and foolish for “the Fair Lord” not to prepare for the loss of his beauty and youth.
The second quatrain shows that the situation will be hard for people when they are asked how they have spent their youth. Here, the poet refers to “the Fair Lord.”
Human beauty would be useless if it is not renewed. The usefulness of beauty can only be realized by having children. This is the only way by which one can prove that he has not misused his time on this earth. This is vividly included in, “‘this fair child of mine shall sum my count and make my old excuse.” The beauty of the child reminds the father or the mother that this beauty was once his or hers:
This were to be new made when thou art old, And see thy blood warm when thou feel'st it cold.
This couplet can be paraphrased in this way:
This child would be new made when you are old, and you would see your blood flow warm through him when you are cold. < http://www.shakespeare-online.com/sonnets/2detail.html >
Shakespeare stresses the fact that begetting children is the only way that can immortalize the beauty and the youth of parents. He wants to urge “the Fair Lord” not to waste his time and marry a woman that can offer him happiness and immortality by bearing his child.
This sonnet displays procreation as the efficient defence against old age and death.
« Sonnet 12:
When I do count the clock that tells the time,
And see the brave day sunk in hideous night;
When I behold the violet past prime,
And sable curls all silver'd o'er with white;
When lofty trees I see barren of leaves
Which erst from heat did canopy the herd,
And summer's green all girded up in sheaves
Borne on the bier with white and bristly beard,
Then of thy beauty do I question make,
That thou among the wastes of time must go,
Since sweets and beauties do themselves forsake
And die as fast as they see others grow;
And nothing 'gainst Time's scythe can make defence Save breed, to brave him when he takes thee hence.
http://www.shakespeare-online.com/sonnets12/.html
• Analysis:
This sonnet deals mainly with the theme of the ravages of time. Shakespeare uses a wide range of metaphors and images which display the destructiveness of time.
The poet devotes the first and the second quatrain to describe the decay of some natural elements. The brightness of the day is defeated by the darkness of the night. All types of plants fade with the passage of time. Even the black curly hair of people turns white when they are old. The trees lose their leaves. The poet states that when “I see green plants are harvested and carried on the wagon, I begin thinking about your beauty.” The addressee here is clearly “the Fair Lord”. This use of such markers of the passage and the progress of time proves Bradbrook’s statement that”
Shakespeare’s achievement depends before all else on the power, range and strength of his use of words(…) his vocabulary was about ten times that of the average man of today.”(1951, p.79).
In the third quatrain, the poet addresses directly the Fair Lord.” He tries to make him aware that his beauty will undoubtedly decline because time does not stop:
Then of thy beauty do I question make,
That thou among the wastes of time must go,
Ultimately, the poet hopes that the young man will finally realise that time stops for no one; the only way the young man can ensure the survival and immortality of his beauty is through having a child. Children are portrayed to be the only measure of defence against time and death. As we may see, both procreation and the ravages of time (time destructiveness) are two interrelated themes in Shakespeare’s sonnets. The former is regarded as being the only weapon, so to speak, by which people can confront the enemy, which is time.
« Sonnet 129:
The expense of spirit in a waste of shame
Is lust in action; and till action, lust
Is perjured, murderous, bloody, full of blame,
Savage, extreme, rude, cruel, not to trust,
Enjoy'd no sooner but despised straight,
Past reason hunted, and no sooner had
Past reason hated, as a swallow'd bait
On purpose laid to make the taker mad;
Mad in pursuit and in possession so;
Had, having, and in quest to have, extreme;
A bliss in proof, and proved, a very woe;
Before, a joy proposed; behind, a dream.
All this the world well knows; yet none knows well To shun the heaven that leads men to this hell. http://www.shakespeare-online.com/sonnets129/.html
• Analysis:
The theme discussed here is that of carnal love. This sonnet deals with the three stages that concern lust. It is (the sonnet) concerned with people feelings before, while and after having a sexual intercourse.
At the beginning, the poet says that “lust in action”-that is, when it is being had- is “an expense of spirit in a waste of shame.” Lust is associated with many bad characteristics. It is murderous, violent, blameworthy, savage, extreme, rude, cruel and untrustworthy. As soon as people, they immediately despise it. The second quatrain stresses the idea that people long for sex, but when they achieve it, they fell shameful. Then, the poet says that lust makes people mad in the sense that they behave strangely before, while mad after having sex:
Mad in pursuit and in possession so;
Had, having, and in quest to have, extreme;
In the couplet, the poet says that the whole world knows these things well; but nevertheless, none knows how to shun lust in order to avoid shame, “To shun the heaven that leads men to this hell.”
The situation of the poet may be that of a person who has experienced each stage of lust. Therefore, he is able to describe each stage meticulously.
Lust, in this sonnet, is described in a highly carnal language---bloody, full of blame, rude, swallowed bait. The impersonal tone used in this sonnet is very interesting. The poet never says openly that he is writing about his experience, but the strength by which he describes lust indicates that he has undergone it indeed.
http://www.sparknotes.com/shakespeare/shakesonnets/section9.rhtml
As a matter of fact, this sonnet is well worth analysing because it discusses a very important and controversial issue, lust.
« Sonnet 130:
My mistress' eyes are nothing like the sun;
Coral is far more red than her lips' red;
If snow be white, why then her breasts are dun;
If hairs be wires, black wires grow on her head.
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.
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, William.1963, p.301)
• Analysis:
This sonnet discusses the themes of beauty and love. It is addressed to a woman who seems to be the mistress of the poet. It plays a joke on the conventions of love poetry.
In this sonnet, Shakespeare compares his lover to a number of beauties. This comparison is not in the lover’s favour. The beauties, to which the mistress is compared, seem to have more qualities than this mistress has.
Her eyes are nothing like the sun; her lips are less red than coral. Compared to white snow, the breast of this mistress is dun-coloured and her hairs are like black wires on her head. In the second quatrain, the poet says he has seen roses separated ”damasked” into red and white, but he sees no such roses in his mistress’ cheeks. Moreover, he says the breath that “reeks” from his mistress is less delightful than perfume. In the third quatrain, he admits that although he loves his mistress voice, music “hath a far more pleasing sound.” The poet states that his mistress is not a goddess. She is only a human being. However, the poet declares in the couplet that his love for his mistress is so great despite the fact that her beauty is not associated with beautiful comparison.
This sonnet, which is one of Shakespeare’s most famous, satirizes the conventions of love poetry. Most sonnets in Elizabethan England resembled those of Petrach, an Italian poet born in 1304. http://petrarch.petersadlon.com/submissions/Donaldson.html. Petrach’s most famous sonnets were written to an idealised mistress named Laura. In his sonnets, Petrach praises her beauty using extraordinary variety of metaphors based on natural beauties. Shakespeare, in sonnet 130, tries to show that Petrach’s metaphors have become common and ordinary. He mocks the typical love sonnets that adopt the Petrachan metaphors. William seems to be addressing somebody telling him that if your mistress’ eyes are like the sun, the eyes of my mistress are not at all like the sun; your mistress breath smells like perfume, but the breath of my mistress reeks compared to perfume.
Finally, I may say that Shakespeare wants to say that love does not need these conceits in order to be real; and women need not be like flowers or like the sun in order to be beautiful.
« Sonnet 134:
So, now I have confess'd that he is thine,
And I myself am mortgaged to thy will,
Myself I'll forfeit, so that other mine
Thou wilt restore, to be my comfort still:
But thou wilt not, nor he will not be free,
For thou art covetous and he is kind;
He learn'd but surety-like to write for me
Under that bond that him as fast doth bind.
The statute of thy beauty thou wilt take,
Thou usurer, that put'st forth all to use,
And sue a friend came debtor for my sake;
So him I lose through my unkind abuse.
Him have I lost; thou hast both him and me: He pays the whole, and yet am I not free.
http://www.shakespeare-online.com/sonnets134/.html
• Analysis:
The theme discussed in this sonnet is that of unfaithfulness. Shakespeare seems to be desperate and heart-broken because of the betrayal of both his mistress and his friend.
At the very beginning, we may notice that the poet has lost somebody. He says “I have confessed that he is thine.” Here, he addresses his mistress. The latter seems to have a love affair with the poet’s friend. However the poet still wishes to get his friend back. This is seen in line three,” Myself I'll forfeit, so that other mine.” The poet knows well
that his mistress will not let go of his friend. The latter responds whole-heartedly to the mistress’ temptation:
But thou wilt not, nor he will not be free,
For thou art covetous and he is kind;
Despite the unfaithfulness of his friend, the poet still defends him by saying that his mistress is responsible for these wrongdoings. She uses her beauty to seduce his friend who easily submits to her seduction, forgetting the meaning of friendship. In the couplet, the poet tells the unfaithful mistress that” I lose my friend because I allowed him to be involved with you.” Now, the mistress has power on both the speaker and his fiend.
For the poet, innocence and gullibility explain the friend’s behaviour when he is tempted by the mistress. He is sure about the fidelity of his friend. The latter does not realise that he has stabbed him in the back by being involved with his mistress. Unfortunately, the poet still regards this unfaithful person as being a friend despite clear evidence to the opposite.
In conclusion, I may say that this sonnet shows clearly the emotional suffering of the poet who is betrayed by the two persons whom he loves.
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