https://el.rub.de/wiki/Brit-Cult/api.php?action=feedcontributions&feedformat=atom&user=MGuttek 2026-05-11T14:24:40Z User contributions MediaWiki 1.43.0 https://el.rub.de/wiki/Brit-Cult/index.php?title=Titus_oates&diff=9331 2013-06-24T14:33:40Z

<p>MGuttek: </p> <hr /> <div>15 September 1649 – 12 July 1705. English informer and shady character, who had a large share in the [[Popish Plot]].<br /> <br /> Titus Oates was born in Hastings as son of Samuel Oates, a baptist preacher and rector of All Saints Church, and Lucy, midwife from Hastings. He had an elder brother, Samuel, and two sisters, Hannah and Anne. His father Samuel was considered to be a radical preacher. Titus' years of childhood were characterised by his father's temper and dislike for his second son. (Marshall 741)<br /> <br /> Oates attended Merchant Taylor school in London (under William Scott, whom he later accused of playing a part in the Popish Plot), Seddlescombe near Hastings, Gonville and Caius College in Cambridge. Besides he was engaged in several homosexual incidents, which were forbidden in that time. After Oates changed to St John's College in 1669, he left without a degree in the same year. Nonetheless, he claimed to hold a Bachelor degree in order to get a licence to preach from the Bishop of London. However, his lifestyle and crude temper caused disputes with the parishioners, so that Oates got dismissed and returned to Hastings. Already in 1675 he planned his first 'local plot', when he accused the local schoolmaster William Parker of sodomy, because he wanted his position. These false accusations led to a trial of perjury, from which Oates fled to London and joined the ship ''Adventure''. Here he heard the first rumours regarding the Popish Plot to which he later became one of the main characters. He got dismissed from the ship in 1676 due to homosexual incidents. (Marshall 742f.)<br /> <br /> Oates later got arrested and returned to Hastings in order to await his trial for perjury. Once more, he fled to London and became a member of the Roman Catholic Church in March 1677. (Wallenfeldt) Oates was offered the opportunity to attend the English Jesuit College in Valladolid, Spain, in 1677. Why he was offered the place remains unclear. Oates attended the college under a false name and after his return to London in 1678 he claimed to have received a doctorate from the University of Salamanca. Which he had not. (Marshall 744f.)<br /> <br /> In 1678 Oates met Israel Tonge, who later became his partner in the Popish Plot, which was initiated quickly after they met. During the Popish Plot, Oates impressed everyone, especially the House of Commons, with his stories and faked letters he submitted to confirm his statements and thus seemed to be authentic. (Korthals, 96)<br /> <br /> After coming to the throne in 1685, James II brought Oates to trial. Oates was convicted of perjury, and imprisoned for life, as well as pilloried and flogged regularly. (Wallenfeldt) Oates was pardoned in 1689 under William of Orange and Mary II. In his late years he moved to a house in Axe Yard, Westminster, and made his living by writing pamphlets and re-telling the story of the Popish Plot. Moreover he made plans for new plots such as a Franco-Jacobite plot, which remained unfinished. He died 12 July 1705 in Axe Yard. (Marshall 748)<br /> <br /> <br /> Sources:<br /> <br /> Korthals, Eckehard. ''Die antipapistische Bewegung in England während der Restaurationszeit''. Hamburg [diss.], 1970. <br /> <br /> Marshall, Alan. &quot;Oates, Titus (1649–1705)&quot;. ''Oxford Dictionary of National Biography''. Volume XIV. Ed. George Smith. London: Oxford University Press. P. 741-748.<br /> <br /> Wallenfeldt, Jeff. &quot;Titus Oates&quot;. http://www.britannica.com/EBchecked/topic/423523/Titus-Oates (access: 14 June 2013).</div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=Titus_oates&diff=9327 2013-06-23T11:35:43Z

<p>MGuttek: </p> <hr /> <div>15 September 1649 – 12 July 1705. English informer and shady character, who had a large share in the [[Popish Plot]].<br /> <br /> Titus Oates was born in Hastings as son of Samuel Oates, a baptist preacher and rector of All Saints Church, and Lucy, midwife from Hastings. He had an elder brother, Samuel, and two sisters, Hannah and Anne. His father Samuel was considered to be a radical preacher. Titus' years of childhood were characterised by his father's temper and dislike for his second son. (Marshall)<br /> <br /> Oates attended Merchant Taylor school in London (under William Scott, whom he later accused of playing a part in the Popish Plot), Seddlescombe near Hastings, Gonville and Caius College in Cambridge. Besides he was engaged in several homosexual incidents, which were forbidden in that time. After Oates changed to St John's College in 1669, he left without a degree in the same year. Nonetheless, he claimed to hold a Bachelor degree in order to get a licence to preach from the Bishop of London. However, his lifestyle and crude temper caused disputes with the parishioners, so that Oates got dismissed and returned to Hastings. Already in 1675 he planned his first 'local plot', when he accused the local schoolmaster William Parker of sodomy, because he wanted his position. These false accusations led to a trial of perjury, from which Oates fled to London and joined the ship ''Adventure''. Here he heard the first rumours regarding the Popish Plot to which he later became one of the main characters. He got dismissed from the ship in 1676 due to homosexual incidents. (Marshall)<br /> <br /> Oates later got arrested and returned to Hastings in order to await his trial for perjury. Once more, he fled to London and became a member of the Roman Catholic Church in March 1677. (Wallenfeldt) Oates was offered the opportunity to attend the English Jesuit College in Valladolid, Spain, in 1677. Why he was offered the place remains unclear. Oates attended the college under a false name and after his return to London in 1678 he claimed to have received a doctorate from the University of Salamanca. Which he had not. (Marshall)<br /> <br /> In 1678 Oates met Israel Tonge, who later became his partner in the Popish Plot, which was initiated quickly after they met. During the Popish Plot, Oates impressed everyone, especially the House of Commons, with his stories and faked letters he submitted to confirm his statements and thus seemed to be authentic. (Korthals, 96)<br /> <br /> After coming to the throne in 1685, James II brought Oates to trial. Oates was convicted of perjury, and imprisoned for life, as well as pilloried and flogged regularly. (Wallenfeldt) Oates was pardoned in 1689 under William of Orange and Mary II. In his late years he moved to a house in Axe Yard, Westminster, and made his living by writing pamphlets and re-telling the story of the Popish Plot. Moreover he made plans for new plots such as a Franco-Jacobite plot, which remained unfinished. He died 12 July 1705 in Axe Yard. (Marshall)<br /> <br /> <br /> Sources:<br /> <br /> <br /> Korthals, Eckehard. ''Die antipapistische Bewegung in England während der Restaurationszeit''. Hamburg [diss.], 1970. <br /> <br /> Marshall, Alan. &quot;Oates, Titus (1649–1705)&quot;. ''Oxford Dictionary of National Biography'', Oxford University Press, September 2004.<br /> <br /> Wallenfeldt, Jeff. &quot;Titus Oates&quot;. http://www.britannica.com/EBchecked/topic/423523/Titus-Oates (access: 14 June 2013).</div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=Titus_oates&diff=9163 2013-06-14T15:07:53Z

<p>MGuttek: </p> <hr /> <div>{{DISPLAYTITLE:Titus Oates}}<br /> Titus Oates (15 September 1649 – 12 July 1705) was an English informer and shady character, who had a large share in the [[Popish Plot]].<br /> <br /> Titus Oates was born in Hastings as son of Samuel Oates, a baptist preacher and rector of All Saints Church, and Lucy, midwife from Hastings. He had an elder brother, Samuel, and two sisters, Hannah and Anne. His father Samuel was considered to be a radical preacher, as well as a son of the Church of England. Titus' years of childhood were characterised by his father's temper and dislike for his second son.<br /> <br /> Oates attended schools like Merchant Taylor in London (under William Scott, whom he later accused of playing a part in the Popish Plot), Seddlescombe near Hastings, Gonville and Caius College in Cambridge. Particularly during his time in Cambridge he gained reputation as being stupid and a “Canting fanatical way”. Besides he was engaged in several homosexual incidents, which were forbidden in that time. After Oates changed to St. John's College in 1669, he left without a degree in the same year.<br /> <br /> Nonetheless, Oates' tendency towards lies and plots became visible when he claimed to hold a Bachelor degree in order to get a licence to preach from the Bishop of London. However, his lifestyle and crude temper caused disputes with the parishioners, so that Oates got dismissed and returned to Hastings. Already in 1675 he planned his first 'local plot', when he accused the local schoolmaster William Parker of sodomy, because he wanted his position. These false accusations led to a trial of perjury, from which Oates fled to London and joined the Ship 'Adventure'. Here he heard the first rumours regarding the Popish Plot to which he later became one of the main characters. He got dismissed from the ship in 1676 due to homosexual incidents.<br /> <br /> Oates later got arrested and returned to Hastings in order to await his trial for perjury. Once more, he fled to London and interestingly became a member of the Roman Catholic Church, which he later left for turning towards the society of Jesuits. Being in favour of Father Richard Strange, Oates was offered the opportunity to attend the English Jesuit College in Vallodolid, Spain in 1677. Why he was offered the place remains unclear; however it may be Oates' lies that seemed authentic or the supposed homosexuality of Father Strange. Any way, Oates attended the college under a false name and after his return to London in 1678 he claimed to have received a doctorate from the University of Salamanca, which was needless to say, a lie.<br /> <br /> In 1678 Oates met Israel Tonge, who later became his partner in the Popish Plot, which was initiated quickly after they met. During the Popish Plot, Oates impressed everyone, especially the House of Commons, with his stories and his confident delivery due to his talent to create new lies when they were needed.<br /> <br /> After coming to the throne in 1685, Jacob II brought Oates to trial and was convicted to perjury, hence imprisoned for life. Besides he had to endure regular public humiliations, where he was whipped or could be pelted with eggs by townsfolk. Oates was pardoned in 1689 under William of Orange and Mary II. In his late years he moved to a house in Axe Yard, Westminster and made his living by writing pamphlets and re-telling the story of the Popish Plot. Moreover he made plans for new plots just as a Franco-Jacobite plot, which remained unfinished. He died 12 July 1705 in Axe Yard.<br /> <br /> <br /> Sources:<br /> <br /> Elliot, Adam. A modest vindication of Titus Oates, the Salamanca doctor from perjury. Proquest, 2011.<br /> <br /> Korthals, Eckehard. Die antipapistische Bewegung in England während der Restaurationszeit , 1970.<br /> <br /> Marshall, Allan. Oates, Titus (1649–1705). Oxford Dictionary of National Biography, Oxford University Press, September 2004.</div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=Titus_oates&diff=9162 2013-06-14T15:07:32Z

<p>MGuttek: </p> <hr /> <div>{{DISPLAYTITLE:Titus Oates}}<br /> Titus Oates (15 September 1649 – 12 July 1705) was an English informer and shady character, who had a large share in the [[Popish Plot]].<br /> <br /> Titus Oates was born in Hastings as son of Samuel Oates, a baptist preacher and rector of All Saints Church, and Lucy, midwife from Hastings. He had an elder brother, Samuel, and two sisters, Hannah and Anne. His father Samuel was considered to be a radical preacher, as well as a son of the Church of England. Titus' years of childhood were characterised by his father's temper and dislike for his second son.<br /> <br /> Oates attended schools like Merchant Taylor in London (under William Scott, whom he later accused of playing a part in the Popish Plot), Seddlescombe near Hastings, Gonville and Caius College in Cambridge. Particularly during his time in Cambridge he gained reputation as being stupid and a “Canting fanatical way”. Besides he was engaged in several homosexual incidents, which were forbidden in that time. After Oates changed to St. John's College in 1669, he left without a degree in the same year.<br /> <br /> Nonetheless, Oates' tendency towards lies and plots became visible when he claimed to hold a Bachelor degree in order to get a licence to preach from the Bishop of London. However, his lifestyle and crude temper caused disputes with the parishioners, so that Oates got dismissed and returned to Hastings. Already in 1675 he planned his first 'local plot', when he accused the local schoolmaster William Parker of sodomy, because he wanted his position. These false accusations led to a trial of perjury, from which Oates fled to London and joined the Ship 'Adventure'. Here he heard the first rumours regarding the Popish Plot to which he later became one of the main characters. He got dismissed from the ship in 1676 due to homosexual incidents.<br /> <br /> Oates later got arrested and returned to Hastings in order to await his trial for perjury. Once more, he fled to London and interestingly became a member of the Roman Catholic Church, which he later left for turning towards the society of Jesuits. Being in favour of Father Richard Strange, Oates was offered the opportunity to attend the English Jesuit College in Vallodolid, Spain in 1677. Why he was offered the place remains unclear; however it may be Oates' lies that seemed authentic or the supposed homosexuality of Father Strange. Any way, Oates attended the college under a false name and after his return to London in 1678 he claimed to have received a doctorate from the University of Salamanca, which was needless to say, a lie.<br /> <br /> In 1678 Oates met Israel Tonge, who later became his partner in the Popish Plot, which was initiated quickly after they met. During the Popish Plot, Oates impressed everyone, especially the House of Commons, with his stories and his confident delivery due to his talent to create new lies when they were needed.<br /> <br /> After coming to the throne in 1685, Jacob II brought Oates to trial and was convicted to perjury, hence imprisoned for life. Besides he had to endure regular public humiliations, where he was whipped or could be pelted with eggs by townsfolk. Oates was pardoned in 1689 under William of Orange and Mary II. In his late years he moved to a house in Axe Yard, Westminster and made his living by writing pamphlets and re-telling the story of the Popish Plot. Moreover he made plans for new plots just as a Franco-Jacobite plot, which remained unfinished. He died 12 July 1705 in Axe Yard.<br /> <br /> <br /> Sources:<br /> Elliot, Adam. A modest vindication of Titus Oates, the Salamanca doctor from perjury. Proquest, 2011.<br /> <br /> Korthals, Eckehard. Die antipapistische Bewegung in England während der Restaurationszeit , 1970.<br /> <br /> Marshall, Allan. Oates, Titus (1649–1705). Oxford Dictionary of National Biography, Oxford University Press, September 2004.</div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=Titus_oates&diff=9161 2013-06-14T15:07:13Z

<p>MGuttek: </p> <hr /> <div>{{DISPLAYTITLE:Titus Oates}}<br /> Titus Oates (15 September 1649 – 12 July 1705) was an English informer and shady character, who had a large share in the [[Popish Plot]].<br /> <br /> Titus Oates was born in Hastings as son of Samuel Oates, a baptist preacher and rector of All Saints Church, and Lucy, midwife from Hastings. He had an elder brother, Samuel, and two sisters, Hannah and Anne. His father Samuel was considered to be a radical preacher, as well as a son of the Church of England. Titus' years of childhood were characterised by his father's temper and dislike for his second son.<br /> <br /> Oates attended schools like Merchant Taylor in London (under William Scott, whom he later accused of playing a part in the Popish Plot), Seddlescombe near Hastings, Gonville and Caius College in Cambridge. Particularly during his time in Cambridge he gained reputation as being stupid and a “Canting fanatical way”. Besides he was engaged in several homosexual incidents, which were forbidden in that time. After Oates changed to St. John's College in 1669, he left without a degree in the same year.<br /> <br /> Nonetheless, Oates' tendency towards lies and plots became visible when he claimed to hold a Bachelor degree in order to get a licence to preach from the Bishop of London. However, his lifestyle and crude temper caused disputes with the parishioners, so that Oates got dismissed and returned to Hastings. Already in 1675 he planned his first 'local plot', when he accused the local schoolmaster William Parker of sodomy, because he wanted his position. These false accusations led to a trial of perjury, from which Oates fled to London and joined the Ship 'Adventure'. Here he heard the first rumours regarding the Popish Plot to which he later became one of the main characters. He got dismissed from the ship in 1676 due to homosexual incidents.<br /> <br /> Oates later got arrested and returned to Hastings in order to await his trial for perjury. Once more, he fled to London and interestingly became a member of the Roman Catholic Church, which he later left for turning towards the society of Jesuits. Being in favour of Father Richard Strange, Oates was offered the opportunity to attend the English Jesuit College in Vallodolid, Spain in 1677. Why he was offered the place remains unclear; however it may be Oates' lies that seemed authentic or the supposed homosexuality of Father Strange. Any way, Oates attended the college under a false name and after his return to London in 1678 he claimed to have received a doctorate from the University of Salamanca, which was needless to say, a lie.<br /> <br /> In 1678 Oates met Israel Tonge, who later became his partner in the Popish Plot, which was initiated quickly after they met. During the Popish Plot, Oates impressed everyone, especially the House of Commons, with his stories and his confident delivery due to his talent to create new lies when they were needed.<br /> <br /> After coming to the throne in 1685, Jacob II brought Oates to trial and was convicted to perjury, hence imprisoned for life. Besides he had to endure regular public humiliations, where he was whipped or could be pelted with eggs by townsfolk. Oates was pardoned in 1689 under William of Orange and Mary II. In his late years he moved to a house in Axe Yard, Westminster and made his living by writing pamphlets and re-telling the story of the Popish Plot. Moreover he made plans for new plots just as a Franco-Jacobite plot, which remained unfinished. He died 12 July 1705 in Axe Yard.<br /> <br /> <br /> Sources:<br /> Elliot, Adam. A modest vindication of Titus Oates, the Salamanca doctor from perjury. Proquest, 2011.<br /> Korthals, Eckehard. Die antipapistische Bewegung in England während der Restaurationszeit , 1970.<br /> Marshall, Allan. Oates, Titus (1649–1705). Oxford Dictionary of National Biography, Oxford University Press, September 2004.</div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=Titus_oates&diff=9074 2013-05-23T09:15:20Z

<p>MGuttek: Created page with &#039;Titus Oates, born 15 September 1649 and died 12 July 1705, was an English perjurer who initiated the Popish Plot of 1678-81.&#039;</p> <hr /> <div>Titus Oates, born 15 September 1649 and died 12 July 1705, was an English perjurer who initiated the Popish Plot of 1678-81.</div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=Shakespeare%27s_sonnets&diff=8670 2012-12-12T13:57:29Z

<p>MGuttek: /* Themes and motifs */</p> <hr /> <div>Collection of 154 sonnets by [[William Shakespeare]] first published in 1609. The collection ends with the narrative poem &quot;A Lover's Complaint&quot;. While the first 17 sonnets of the collection are dealing with the topic of procreation and are addressed to a young man, and sonnets 18-126 are dealing with the writer's love to the young man, the last sequence (sonnets 127-154) is dedicated to the Dark Lady. Due to its internal separation of addressees, the collection highly differs from other sonnet sequences making use of traditional Petrarchan features such as the sequences of Edmund Spenser and Sir Philip Sidney.<br /> <br /> Whereas the traditional concepts of Elizabethan (love) sonnets dealt with courtly love in the manner of Petrarch, Shakespeare changed some fundamental aspects such as addressing a young man and his beauty as well as contradicting the Petrarchan sonnet tradition with the sexually oriented sonnets about the Dark Lady.<br /> The sonnet collection is considered to be the end of a long sonnet tradition, particularly regarding the English and Elizabethan love sonnet.<br /> <br /> == Structure and style ==<br /> <br /> Shakespeare makes use of Surrey's sonnet form with an abab cdcd efef gg rhyme scheme. Its metrical structure is iambic pentameter.<br /> <br /> The sonnets usually consist of two quartrains which emerge in a thematical octave, followed by a cesura in thought, a quartrain and a final rhyming couplet. Exceptions are sonnets 126 (which consists of rhyming couplets) and 145 (which makes use of 4 feet in one line instead of 5). The couplet is often set against the previous thoughts or else it is used for emphasis - it serves as a new form bringing reversal, new ideas or a conclusion. (Schabert, p. 653)<br /> <br /> Though the sonnet collection seems to follow a certain chronology of sonnets, on closer consideration it is obvious that there are some irregularities. Thus, sonnets 76-86 deal with the poet's rival concerning the Fair Lord's love, but apparently sonnet 77 and sonnet 81 seem to be out of place. So, sonnet 81 offers itself to be a thematic and linguistic counterpart to sonnet 32 which itself functions as a thematically and linguistically foreign matter in its series of sonnets 29-35. According to that it is doubtful that Shakespeare's sonnets were written in the more or less precise order they appear in the collection.<br /> <br /> <br /> == Themes and motifs == <br /> <br /> Shakespeare highly uses metaphors, symbols and conceits. A conceit is an extended mteaphor, which gives the whole sonnet its content. In Renaissance poetry often hyperbolic comparisons to nature were made in order to admire the Sonnet Lady. Shakespeare repeatedly makes use of eye-conceits, which emphasise due to its ambiguity (homophone: eye - I) the rising importance of subjectivity and individuality in the Renaissance. This accompanies Shakespeare's preference for new ideas and contradicting traditional literary forms.<br /> <br /> Besides Shakespeare applies to symbolism, for instance referring to colours. In his sonnets, the colour yellow is embedded in the context of passing time, whereas black is associated with the Dark Lady.<br /> <br /> Due to its mere structure, one of the sonnet collection's main themes in the twist between platonic love and cardinal desire, between reason and lust. This is illustrated by the addresssees, the Fair Lord, who stands for platonic love, and the Dark Lady, who is connected to cardinal desire.<br /> <br /> During the collection one aspect recurs all over again: the ravages of time. Specifically the decay and mortality of human body and the immortality of the soul (especially by art and writing) are central elements. Time is personified as the personal enemy which one cannot escape from, except letting the individual live on in descendants (as in the procreation sonnets) or being immortalised by art and poetry.<br /> <br /> == Sonnets 1-126: Fair Lord sequence ==<br /> <br /> Sonnets 1-126 are addressed to an unnamed young man, referred to as “Fair Lord”. Here the poet expresses his love and admiration for the Fair Lord, praising his beauty, while later on having an affair with the Dark Lady.<br /> <br /> In the sonnets, the Fair Lord stands for an idealised platonic love. It differs from the Petrarchan ideal since the poet addresses a young man instead of a traditional inapproachable Sonnet Lady. The Fair Lord is praised for his beauty, which was usually considered to be a female feature. Scholars tend to ascribe the poet's admiration towards a man as a hint to Shakespeare's supposed homosexuality. Indeed, the admiration could also refer to Neo-Platonic ideals, in which real love without sexual lust (as chastity is one of the ideals of the Petrarchan Sonnet Lady) is possible between men only. This ideal however is highly platonic.<br /> <br /> Furthermore, the Fair Lord contradicts the Petrarchan ideal by being depicted as a human being. Though he is praised for his beauty, he is not wholly idealised by being criticised for being selfish and doing hurtful things to the poet (sonnet 94) such as having another friend – the Rival Poet which appears in sonnets 78-86.<br /> <br /> Sonnets 1-17 build a sequence called “procreation sonnets”. A change in tone is given with sonnet 18, which moves expressed urge to marry to the announcement that the poet's Fair Lord will be immortalised in his verses. It is clear move to romantic intimacy, which continues in the following sonnets that depict the ups and downs of the relationship between the poet and the Fair Lord.<br /> <br /> === Sonnets 1-17: Procreation sonnets ===<br /> <br /> The sequence of “procreation sonnets” begins with the first sonnet and ends with sonnet 17. They address the Fair Lord and try to persuade him to marry and start a family in order to save his beauty with an heir.<br /> <br /> Here, the sonnets are dominated by imagery of the world of finances and law, which ascribed the assumption that Shakespeare wrote the first sonnets on commission for a young aristocrat, whose family wanted him to marry. Aspirants for the position of the friend were Henry Wriothesley, Earl of Southampton (to whom Shakespeare's Epics are dedicated) and William Herbert, Earl of Pembroke (to whom the folio edition is dedicated). Both men were young when Shakespeare wrote the sonnets, and both could not decide to marry for a long time, so that they possibly required the admonitions of the procreation sonnets. (Suerbaum, p. 326)<br /> <br /> The sonnets are less poetical, what nonetheless vanishes with time when the friend is praised more by imagery of nature, which was typical for love poetry. The change find its peak with sonnet 18 and a total change in tone, going on with romantic intimacy.<br /> <br /> == Sonnets 127-154: Dark Lady sequence ==<br /> <br /> The Dark Lady sonnets begin with sonnet 127 and end with the last one, sonnet 154. The topics of desire and physical attraction build the centre of the sonnets. Hence, cardinal lust serves as an antithesis to the platonic love the poet illustrated in the previous 126 poems and marks once again the separation Shakespeare's from traditional sonnet concepts.<br /> <br /> The style of the sonnets is highly Anti-Petrarchan, since the admired Sonnet Lady here does not stand for chastity, virtue, elusiveness and is even by her looks (blond hair, blue eyes, pure skin) upheaved to a divine, angel-like creature. Instead, the Dark Lady is depicted differently in behaviour and appearance:<br /> <br /> [[File:Sonnet_130.jpg]]<br /> <br /> This sonnet is an example for a contre-blazon: Shakespeare mocks the traditional Petrarchan conceits (for an example according to Petrarch's concept see Spenser's sonnet 64), which idealise the Sonnet Lady and compare each of her body parts to beauties of nature. These typical idealisations are negated here – the Dark Lady is no goddess at all. The couplet makes clear that the poet does not need any false or exaggerated comparisons to distore his beloved's attractions since he is in love with a real woman.<br /> <br /> With the contruction of the &quot;unusual&quot; Sonnet Lady in contrast to Petrarchan concepts, Shakespeare was able to bring forwards topics of sexual dependence, subjectivity and blindness of the lover, as well as the inner conflict between desire and reason. (Suerbaum, p. 325)<br /> <br /> == Sources ==<br /> <br /> Puschmann-Nalenz, Barbara. ''Loves of comfort and despair''. Frankfurt: Akad. Verl.-Ges., 1974.<br /> <br /> Schabert, Ina. ''Shakespeare-Handbuch''. 4th ed. Stuttgart: Kröner, 2000.<br /> <br /> Shakespeare, William. ''Shakespeare's Sonnets''. Ed. Katherina Duncan-Jones. London: The Arden Shakespeare, 2007.<br /> <br /> Suerbaum, Ulrich. ''Der Shakespeare-Führer''. Stuttgart: Reclam, 2001.</div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=Shakespeare%27s_sonnets&diff=8669 2012-12-12T13:57:06Z

<p>MGuttek: </p> <hr /> <div>Collection of 154 sonnets by [[William Shakespeare]] first published in 1609. The collection ends with the narrative poem &quot;A Lover's Complaint&quot;. While the first 17 sonnets of the collection are dealing with the topic of procreation and are addressed to a young man, and sonnets 18-126 are dealing with the writer's love to the young man, the last sequence (sonnets 127-154) is dedicated to the Dark Lady. Due to its internal separation of addressees, the collection highly differs from other sonnet sequences making use of traditional Petrarchan features such as the sequences of Edmund Spenser and Sir Philip Sidney.<br /> <br /> Whereas the traditional concepts of Elizabethan (love) sonnets dealt with courtly love in the manner of Petrarch, Shakespeare changed some fundamental aspects such as addressing a young man and his beauty as well as contradicting the Petrarchan sonnet tradition with the sexually oriented sonnets about the Dark Lady.<br /> The sonnet collection is considered to be the end of a long sonnet tradition, particularly regarding the English and Elizabethan love sonnet.<br /> <br /> == Structure and style ==<br /> <br /> Shakespeare makes use of Surrey's sonnet form with an abab cdcd efef gg rhyme scheme. Its metrical structure is iambic pentameter.<br /> <br /> The sonnets usually consist of two quartrains which emerge in a thematical octave, followed by a cesura in thought, a quartrain and a final rhyming couplet. Exceptions are sonnets 126 (which consists of rhyming couplets) and 145 (which makes use of 4 feet in one line instead of 5). The couplet is often set against the previous thoughts or else it is used for emphasis - it serves as a new form bringing reversal, new ideas or a conclusion. (Schabert, p. 653)<br /> <br /> Though the sonnet collection seems to follow a certain chronology of sonnets, on closer consideration it is obvious that there are some irregularities. Thus, sonnets 76-86 deal with the poet's rival concerning the Fair Lord's love, but apparently sonnet 77 and sonnet 81 seem to be out of place. So, sonnet 81 offers itself to be a thematic and linguistic counterpart to sonnet 32 which itself functions as a thematically and linguistically foreign matter in its series of sonnets 29-35. According to that it is doubtful that Shakespeare's sonnets were written in the more or less precise order they appear in the collection.<br /> <br /> <br /> == Themes and motifs == <br /> <br /> Shakespeare highly uses metaphors, symbols and conceits. A conceit is an extended mteaphor, which gives the whole sonnet its content. In Renaissance poetry often hyperbolic comparisons to nature were made in order to admire the Sonnet Lady. Shakespeare repeatedly makes use of eye-conceits, which emphasise due to its ambiguity (homophone: eye - I) the rising importance of subjectivity and individuality in the Renaissance. This accompanies Shakespeare's preference for new ideas and contradicting traditional literary forms.<br /> <br /> Besides Shakespeare applies to symbolism, for instance referring to colours. In his sonnets, the colour yellow is embedded in the context of passing time, whereas black is associated with the Dark Lady.<br /> <br /> Due to its mere structure, one of the sonnet collection's main themes in the twist between platonic love and cardinal desire, between reason and lust. This is illustrated by the addresssees, the Fair Lord, who stands for platonic love, and the Dark Lady, who is connected to cardinal desire.<br /> <br /> During the collection one aspect recurs all over again: the ravages of time. Specifically the decay and mortality of human body and the immortality of the soul (especially by art and writing) are central elements. Time is personified as the personal enemy which one cannot escape from, except letting the individual live on in descendants (as in the procreation sonnets) or being immortalised by art and poetry.<br /> <br /> <br /> == Sonnets 1-126: Fair Lord sequence ==<br /> <br /> Sonnets 1-126 are addressed to an unnamed young man, referred to as “Fair Lord”. Here the poet expresses his love and admiration for the Fair Lord, praising his beauty, while later on having an affair with the Dark Lady.<br /> <br /> In the sonnets, the Fair Lord stands for an idealised platonic love. It differs from the Petrarchan ideal since the poet addresses a young man instead of a traditional inapproachable Sonnet Lady. The Fair Lord is praised for his beauty, which was usually considered to be a female feature. Scholars tend to ascribe the poet's admiration towards a man as a hint to Shakespeare's supposed homosexuality. Indeed, the admiration could also refer to Neo-Platonic ideals, in which real love without sexual lust (as chastity is one of the ideals of the Petrarchan Sonnet Lady) is possible between men only. This ideal however is highly platonic.<br /> <br /> Furthermore, the Fair Lord contradicts the Petrarchan ideal by being depicted as a human being. Though he is praised for his beauty, he is not wholly idealised by being criticised for being selfish and doing hurtful things to the poet (sonnet 94) such as having another friend – the Rival Poet which appears in sonnets 78-86.<br /> <br /> Sonnets 1-17 build a sequence called “procreation sonnets”. A change in tone is given with sonnet 18, which moves expressed urge to marry to the announcement that the poet's Fair Lord will be immortalised in his verses. It is clear move to romantic intimacy, which continues in the following sonnets that depict the ups and downs of the relationship between the poet and the Fair Lord.<br /> <br /> === Sonnets 1-17: Procreation sonnets ===<br /> <br /> The sequence of “procreation sonnets” begins with the first sonnet and ends with sonnet 17. They address the Fair Lord and try to persuade him to marry and start a family in order to save his beauty with an heir.<br /> <br /> Here, the sonnets are dominated by imagery of the world of finances and law, which ascribed the assumption that Shakespeare wrote the first sonnets on commission for a young aristocrat, whose family wanted him to marry. Aspirants for the position of the friend were Henry Wriothesley, Earl of Southampton (to whom Shakespeare's Epics are dedicated) and William Herbert, Earl of Pembroke (to whom the folio edition is dedicated). Both men were young when Shakespeare wrote the sonnets, and both could not decide to marry for a long time, so that they possibly required the admonitions of the procreation sonnets. (Suerbaum, p. 326)<br /> <br /> The sonnets are less poetical, what nonetheless vanishes with time when the friend is praised more by imagery of nature, which was typical for love poetry. The change find its peak with sonnet 18 and a total change in tone, going on with romantic intimacy.<br /> <br /> == Sonnets 127-154: Dark Lady sequence ==<br /> <br /> The Dark Lady sonnets begin with sonnet 127 and end with the last one, sonnet 154. The topics of desire and physical attraction build the centre of the sonnets. Hence, cardinal lust serves as an antithesis to the platonic love the poet illustrated in the previous 126 poems and marks once again the separation Shakespeare's from traditional sonnet concepts.<br /> <br /> The style of the sonnets is highly Anti-Petrarchan, since the admired Sonnet Lady here does not stand for chastity, virtue, elusiveness and is even by her looks (blond hair, blue eyes, pure skin) upheaved to a divine, angel-like creature. Instead, the Dark Lady is depicted differently in behaviour and appearance:<br /> <br /> [[File:Sonnet_130.jpg]]<br /> <br /> This sonnet is an example for a contre-blazon: Shakespeare mocks the traditional Petrarchan conceits (for an example according to Petrarch's concept see Spenser's sonnet 64), which idealise the Sonnet Lady and compare each of her body parts to beauties of nature. These typical idealisations are negated here – the Dark Lady is no goddess at all. The couplet makes clear that the poet does not need any false or exaggerated comparisons to distore his beloved's attractions since he is in love with a real woman.<br /> <br /> With the contruction of the &quot;unusual&quot; Sonnet Lady in contrast to Petrarchan concepts, Shakespeare was able to bring forwards topics of sexual dependence, subjectivity and blindness of the lover, as well as the inner conflict between desire and reason. (Suerbaum, p. 325)<br /> <br /> == Sources ==<br /> <br /> Puschmann-Nalenz, Barbara. ''Loves of comfort and despair''. Frankfurt: Akad. Verl.-Ges., 1974.<br /> <br /> Schabert, Ina. ''Shakespeare-Handbuch''. 4th ed. Stuttgart: Kröner, 2000.<br /> <br /> Shakespeare, William. ''Shakespeare's Sonnets''. Ed. Katherina Duncan-Jones. London: The Arden Shakespeare, 2007.<br /> <br /> Suerbaum, Ulrich. ''Der Shakespeare-Führer''. Stuttgart: Reclam, 2001.</div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=Shakespeare%27s_sonnets&diff=8668 2012-12-12T13:25:17Z

<p>MGuttek: /* Sources */</p> <hr /> <div>Collection of 154 sonnets by [[William Shakespeare]] first published in 1609. The collection ends with the narrative poem &quot;A Lover's Complaint&quot;. While the first 17 sonnets of the collection are dealing with the topic of procreation and are addressed to a young man, and sonnets 18-126 are dealing with the writer's love to the young man, the last sequence (sonnets 127-154) is dedicated to the Dark Lady. Due to its internal separation of addressees, the collection highly differs from other sonnet sequences making use of traditional Petrarchan features such as the sequences of Edmund Spenser and Sir Philip Sidney.<br /> <br /> Whereas the traditional concepts of Elizabethan (love) sonnets dealt with courtly love in the manner of Petrarch, Shakespeare changed some fundamental aspects such as addressing a young man and his beauty as well as contradicting the Petrarchan sonnet tradition with the sexually oriented sonnets about the Dark Lady.<br /> The sonnet collection is considered to be the end of a long sonnet tradition, particularly regarding the English and Elizabethan love sonnet.<br /> <br /> == Structure and style ==<br /> <br /> Shakespeare makes use of Surrey's sonnet form with an abab cdcd efef gg rhyme scheme. Its metrical structure is iambic pentameter.<br /> <br /> The sonnets usually consist of two quartrains which emerge in a thematical octave, followed by a cesura in thought, a quartrain and a final rhyming couplet. Exceptions are sonnets 126 (which consists of rhyming couplets) and 145 (which makes use of 4 feet in one line instead of 5). The couplet is often set against the previous thoughts or else it is used for emphasis - it serves as a new form bringing reversal, new ideas or a conclusion. (Schabert, p. 653)<br /> <br /> Though the sonnet collection seems to follow a certain chronology of sonnets, on closer consideration it is obvious that there are some irregularities. Thus, sonnets 76-86 deal with the poet's rival concerning the Fair Lord's love, but apparently sonnet 77 and sonnet 81 seem to be out of place. So, sonnet 81 offers itself to be a thematic and linguistic counterpart to sonnet 32 which itself functions as a thematically and linguistically foreign matter in its series of sonnets 29-35. According to that it is doubtful that Shakespeare's sonnets were written in the more or less precise order they appear in the collection.<br /> <br /> Shakespeare highly uses metaphors, symbols and conceits, and besides symbols of nature and love makes use of vocabulary of law, finances, medicine and other.<br /> <br /> == Sonnets 1-126: Fair Lord sequence ==<br /> <br /> Sonnets 1-126 are addressed to an unnamed young man, referred to as “Fair Lord”. Here the poet expresses his love and admiration for the Fair Lord, praising his beauty, while later on having an affair with the Dark Lady.<br /> <br /> In the sonnets, the Fair Lord stands for an idealised platonic love. It differs from the Petrarchan ideal since the poet addresses a young man instead of a traditional inapproachable Sonnet Lady. The Fair Lord is praised for his beauty, which was usually considered to be a female feature. Scholars tend to ascribe the poet's admiration towards a man as a hint to Shakespeare's supposed homosexuality. Indeed, the admiration could also refer to Neo-Platonic ideals, in which real love without sexual lust (as chastity is one of the ideals of the Petrarchan Sonnet Lady) is possible between men only. This ideal however is highly platonic.<br /> <br /> Furthermore, the Fair Lord contradicts the Petrarchan ideal by being depicted as a human being. Though he is praised for his beauty, he is not wholly idealised by being criticised for being selfish and doing hurtful things to the poet (sonnet 94) such as having another friend – the Rival Poet which appears in sonnets 78-86.<br /> <br /> Sonnets 1-17 build a sequence called “procreation sonnets”. A change in tone is given with sonnet 18, which moves expressed urge to marry to the announcement that the poet's Fair Lord will be immortalised in his verses. It is clear move to romantic intimacy, which continues in the following sonnets that depict the ups and downs of the relationship between the poet and the Fair Lord.<br /> <br /> === Sonnets 1-17: Procreation sonnets ===<br /> <br /> The sequence of “procreation sonnets” begins with the first sonnet and ends with sonnet 17. They address the Fair Lord and try to persuade him to marry and start a family in order to save his beauty with an heir.<br /> <br /> Here, the sonnets are dominated by imagery of the world of finances and law, which ascribed the assumption that Shakespeare wrote the first sonnets on commission for a young aristocrat, whose family wanted him to marry. Aspirants for the position of the friend were Henry Wriothesley, Earl of Southampton (to whom Shakespeare's Epics are dedicated) and William Herbert, Earl of Pembroke (to whom the folio edition is dedicated). Both men were young when Shakespeare wrote the sonnets, and both could not decide to marry for a long time, so that they possibly required the admonitions of the procreation sonnets. (Suerbaum, p. 326)<br /> <br /> The sonnets are less poetical, what nonetheless vanishes with time when the friend is praised more by imagery of nature, which was typical for love poetry. The change find its peak with sonnet 18 and a total change in tone, going on with romantic intimacy.<br /> <br /> == Sonnets 127-154: Dark Lady sequence ==<br /> <br /> The Dark Lady sonnets begin with sonnet 127 and end with the last one, sonnet 154. The topics of desire and physical attraction build the centre of the sonnets. Hence, cardinal lust serves as an antithesis to the platonic love the poet illustrated in the previous 126 poems and marks once again the separation Shakespeare's from traditional sonnet concepts.<br /> <br /> The style of the sonnets is highly Anti-Petrarchan, since the admired Sonnet Lady here does not stand for chastity, virtue, elusiveness and is even by her looks (blond hair, blue eyes, pure skin) upheaved to a divine, angel-like creature. Instead, the Dark Lady is depicted differently in behaviour and appearance:<br /> <br /> [[File:Sonnet_130.jpg]]<br /> <br /> This sonnet is an example for a contre-blazon: Shakespeare mocks the traditional Petrarchan conceits (for an example according to Petrarch's concept see Spenser's sonnet 64), which idealise the Sonnet Lady and compare each of her body parts to beauties of nature. These typical idealisations are negated here – the Dark Lady is no goddess at all. The couplet makes clear that the poet does not need any false or exaggerated comparisons to distore his beloved's attractions since he is in love with a real woman.<br /> <br /> With the contruction of the &quot;unusual&quot; Sonnet Lady in contrast to Petrarchan concepts, Shakespeare was able to bring forwards topics of sexual dependence, subjectivity and blindness of the lover, as well as the inner conflict between desire and reason. (Suerbaum, p. 325)<br /> <br /> == Themes and motifs ==<br /> <br /> == Sources ==<br /> <br /> Puschmann-Nalenz, Barbara. ''Loves of comfort and despair''. Frankfurt: Akad. Verl.-Ges., 1974.<br /> <br /> Schabert, Ina. ''Shakespeare-Handbuch''. 4th ed. Stuttgart: Kröner, 2000.<br /> <br /> Shakespeare, William. ''Shakespeare's Sonnets''. Ed. Katherina Duncan-Jones. London: The Arden Shakespeare, 2007.<br /> <br /> Suerbaum, Ulrich. ''Der Shakespeare-Führer''. Stuttgart: Reclam, 2001.</div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=Shakespeare%27s_sonnets&diff=8667 2012-12-12T13:22:40Z

<p>MGuttek: /* Structure and style */</p> <hr /> <div>Collection of 154 sonnets by [[William Shakespeare]] first published in 1609. The collection ends with the narrative poem &quot;A Lover's Complaint&quot;. While the first 17 sonnets of the collection are dealing with the topic of procreation and are addressed to a young man, and sonnets 18-126 are dealing with the writer's love to the young man, the last sequence (sonnets 127-154) is dedicated to the Dark Lady. Due to its internal separation of addressees, the collection highly differs from other sonnet sequences making use of traditional Petrarchan features such as the sequences of Edmund Spenser and Sir Philip Sidney.<br /> <br /> Whereas the traditional concepts of Elizabethan (love) sonnets dealt with courtly love in the manner of Petrarch, Shakespeare changed some fundamental aspects such as addressing a young man and his beauty as well as contradicting the Petrarchan sonnet tradition with the sexually oriented sonnets about the Dark Lady.<br /> The sonnet collection is considered to be the end of a long sonnet tradition, particularly regarding the English and Elizabethan love sonnet.<br /> <br /> == Structure and style ==<br /> <br /> Shakespeare makes use of Surrey's sonnet form with an abab cdcd efef gg rhyme scheme. Its metrical structure is iambic pentameter.<br /> <br /> The sonnets usually consist of two quartrains which emerge in a thematical octave, followed by a cesura in thought, a quartrain and a final rhyming couplet. Exceptions are sonnets 126 (which consists of rhyming couplets) and 145 (which makes use of 4 feet in one line instead of 5). The couplet is often set against the previous thoughts or else it is used for emphasis - it serves as a new form bringing reversal, new ideas or a conclusion. (Schabert, p. 653)<br /> <br /> Though the sonnet collection seems to follow a certain chronology of sonnets, on closer consideration it is obvious that there are some irregularities. Thus, sonnets 76-86 deal with the poet's rival concerning the Fair Lord's love, but apparently sonnet 77 and sonnet 81 seem to be out of place. So, sonnet 81 offers itself to be a thematic and linguistic counterpart to sonnet 32 which itself functions as a thematically and linguistically foreign matter in its series of sonnets 29-35. According to that it is doubtful that Shakespeare's sonnets were written in the more or less precise order they appear in the collection.<br /> <br /> Shakespeare highly uses metaphors, symbols and conceits, and besides symbols of nature and love makes use of vocabulary of law, finances, medicine and other.<br /> <br /> == Sonnets 1-126: Fair Lord sequence ==<br /> <br /> Sonnets 1-126 are addressed to an unnamed young man, referred to as “Fair Lord”. Here the poet expresses his love and admiration for the Fair Lord, praising his beauty, while later on having an affair with the Dark Lady.<br /> <br /> In the sonnets, the Fair Lord stands for an idealised platonic love. It differs from the Petrarchan ideal since the poet addresses a young man instead of a traditional inapproachable Sonnet Lady. The Fair Lord is praised for his beauty, which was usually considered to be a female feature. Scholars tend to ascribe the poet's admiration towards a man as a hint to Shakespeare's supposed homosexuality. Indeed, the admiration could also refer to Neo-Platonic ideals, in which real love without sexual lust (as chastity is one of the ideals of the Petrarchan Sonnet Lady) is possible between men only. This ideal however is highly platonic.<br /> <br /> Furthermore, the Fair Lord contradicts the Petrarchan ideal by being depicted as a human being. Though he is praised for his beauty, he is not wholly idealised by being criticised for being selfish and doing hurtful things to the poet (sonnet 94) such as having another friend – the Rival Poet which appears in sonnets 78-86.<br /> <br /> Sonnets 1-17 build a sequence called “procreation sonnets”. A change in tone is given with sonnet 18, which moves expressed urge to marry to the announcement that the poet's Fair Lord will be immortalised in his verses. It is clear move to romantic intimacy, which continues in the following sonnets that depict the ups and downs of the relationship between the poet and the Fair Lord.<br /> <br /> === Sonnets 1-17: Procreation sonnets ===<br /> <br /> The sequence of “procreation sonnets” begins with the first sonnet and ends with sonnet 17. They address the Fair Lord and try to persuade him to marry and start a family in order to save his beauty with an heir.<br /> <br /> Here, the sonnets are dominated by imagery of the world of finances and law, which ascribed the assumption that Shakespeare wrote the first sonnets on commission for a young aristocrat, whose family wanted him to marry. Aspirants for the position of the friend were Henry Wriothesley, Earl of Southampton (to whom Shakespeare's Epics are dedicated) and William Herbert, Earl of Pembroke (to whom the folio edition is dedicated). Both men were young when Shakespeare wrote the sonnets, and both could not decide to marry for a long time, so that they possibly required the admonitions of the procreation sonnets. (Suerbaum, p. 326)<br /> <br /> The sonnets are less poetical, what nonetheless vanishes with time when the friend is praised more by imagery of nature, which was typical for love poetry. The change find its peak with sonnet 18 and a total change in tone, going on with romantic intimacy.<br /> <br /> == Sonnets 127-154: Dark Lady sequence ==<br /> <br /> The Dark Lady sonnets begin with sonnet 127 and end with the last one, sonnet 154. The topics of desire and physical attraction build the centre of the sonnets. Hence, cardinal lust serves as an antithesis to the platonic love the poet illustrated in the previous 126 poems and marks once again the separation Shakespeare's from traditional sonnet concepts.<br /> <br /> The style of the sonnets is highly Anti-Petrarchan, since the admired Sonnet Lady here does not stand for chastity, virtue, elusiveness and is even by her looks (blond hair, blue eyes, pure skin) upheaved to a divine, angel-like creature. Instead, the Dark Lady is depicted differently in behaviour and appearance:<br /> <br /> [[File:Sonnet_130.jpg]]<br /> <br /> This sonnet is an example for a contre-blazon: Shakespeare mocks the traditional Petrarchan conceits (for an example according to Petrarch's concept see Spenser's sonnet 64), which idealise the Sonnet Lady and compare each of her body parts to beauties of nature. These typical idealisations are negated here – the Dark Lady is no goddess at all. The couplet makes clear that the poet does not need any false or exaggerated comparisons to distore his beloved's attractions since he is in love with a real woman.<br /> <br /> With the contruction of the &quot;unusual&quot; Sonnet Lady in contrast to Petrarchan concepts, Shakespeare was able to bring forwards topics of sexual dependence, subjectivity and blindness of the lover, as well as the inner conflict between desire and reason. (Suerbaum, p. 325)<br /> <br /> == Themes and motifs ==<br /> <br /> == Sources ==<br /> <br /> Puschmann-Nalenz, Barbara. ''Loves of comfort and despair''. Frankfurt: Akad. Verl.-Ges., 1974.<br /> <br /> Schabert, Ina. ''Shakespeare-Handbuch''. 4th ed. Stuttgart: Kröner, 2000.<br /> <br /> Suerbaum, Ulrich. ''Der Shakespeare-Führer''. Stuttgart: Reclam, 2001.</div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=Shakespeare%27s_sonnets&diff=8666 2012-12-12T13:22:18Z

<p>MGuttek: /* Sonnets 1-126: Fair Lord sequence */</p> <hr /> <div>Collection of 154 sonnets by [[William Shakespeare]] first published in 1609. The collection ends with the narrative poem &quot;A Lover's Complaint&quot;. While the first 17 sonnets of the collection are dealing with the topic of procreation and are addressed to a young man, and sonnets 18-126 are dealing with the writer's love to the young man, the last sequence (sonnets 127-154) is dedicated to the Dark Lady. Due to its internal separation of addressees, the collection highly differs from other sonnet sequences making use of traditional Petrarchan features such as the sequences of Edmund Spenser and Sir Philip Sidney.<br /> <br /> Whereas the traditional concepts of Elizabethan (love) sonnets dealt with courtly love in the manner of Petrarch, Shakespeare changed some fundamental aspects such as addressing a young man and his beauty as well as contradicting the Petrarchan sonnet tradition with the sexually oriented sonnets about the Dark Lady.<br /> The sonnet collection is considered to be the end of a long sonnet tradition, particularly regarding the English and Elizabethan love sonnet.<br /> <br /> == Structure and style ==<br /> <br /> Shakespeare makes use of Surrey's sonnet form with an abab cdcd efef gg rhyme scheme. Its metrical structure is iambic pentameter.<br /> <br /> The sonnets usually consist of two quartrains which emerge in a thematical octave, followed by a cesura in thought, a quartrain and a final rhyming couplet. Exceptions are sonnets 126 (which consists of rhyming couplets) and 145 (which makes use of 4 feet in one line instead of 5). The couplet is often set against the previous thoughts or else it is used for emphasis - it serves as a new form bringing reversal, new ideas or a conclusion.<br /> <br /> Though the sonnet collection seems to follow a certain chronology of sonnets, on closer consideration it is obvious that there are some irregularities. Thus, sonnets 76-86 deal with the poet's rival concerning the Fair Lord's love, but apparently sonnet 77 and sonnet 81 seem to be out of place. So, sonnet 81 offers itself to be a thematic and linguistic counterpart to sonnet 32 which itself functions as a thematically and linguistically foreign matter in its series of sonnets 29-35. According to that it is doubtful that Shakespeare's sonnets were written in the more or less precise order they appear in the collection.<br /> <br /> Shakespeare highly uses metaphors, symbols and conceits, and besides symbols of nature and love makes use of vocabulary of law, finances, medicine and other.<br /> <br /> == Sonnets 1-126: Fair Lord sequence ==<br /> <br /> Sonnets 1-126 are addressed to an unnamed young man, referred to as “Fair Lord”. Here the poet expresses his love and admiration for the Fair Lord, praising his beauty, while later on having an affair with the Dark Lady.<br /> <br /> In the sonnets, the Fair Lord stands for an idealised platonic love. It differs from the Petrarchan ideal since the poet addresses a young man instead of a traditional inapproachable Sonnet Lady. The Fair Lord is praised for his beauty, which was usually considered to be a female feature. Scholars tend to ascribe the poet's admiration towards a man as a hint to Shakespeare's supposed homosexuality. Indeed, the admiration could also refer to Neo-Platonic ideals, in which real love without sexual lust (as chastity is one of the ideals of the Petrarchan Sonnet Lady) is possible between men only. This ideal however is highly platonic.<br /> <br /> Furthermore, the Fair Lord contradicts the Petrarchan ideal by being depicted as a human being. Though he is praised for his beauty, he is not wholly idealised by being criticised for being selfish and doing hurtful things to the poet (sonnet 94) such as having another friend – the Rival Poet which appears in sonnets 78-86.<br /> <br /> Sonnets 1-17 build a sequence called “procreation sonnets”. A change in tone is given with sonnet 18, which moves expressed urge to marry to the announcement that the poet's Fair Lord will be immortalised in his verses. It is clear move to romantic intimacy, which continues in the following sonnets that depict the ups and downs of the relationship between the poet and the Fair Lord.<br /> <br /> === Sonnets 1-17: Procreation sonnets ===<br /> <br /> The sequence of “procreation sonnets” begins with the first sonnet and ends with sonnet 17. They address the Fair Lord and try to persuade him to marry and start a family in order to save his beauty with an heir.<br /> <br /> Here, the sonnets are dominated by imagery of the world of finances and law, which ascribed the assumption that Shakespeare wrote the first sonnets on commission for a young aristocrat, whose family wanted him to marry. Aspirants for the position of the friend were Henry Wriothesley, Earl of Southampton (to whom Shakespeare's Epics are dedicated) and William Herbert, Earl of Pembroke (to whom the folio edition is dedicated). Both men were young when Shakespeare wrote the sonnets, and both could not decide to marry for a long time, so that they possibly required the admonitions of the procreation sonnets. (Suerbaum, p. 326)<br /> <br /> The sonnets are less poetical, what nonetheless vanishes with time when the friend is praised more by imagery of nature, which was typical for love poetry. The change find its peak with sonnet 18 and a total change in tone, going on with romantic intimacy.<br /> <br /> == Sonnets 127-154: Dark Lady sequence ==<br /> <br /> The Dark Lady sonnets begin with sonnet 127 and end with the last one, sonnet 154. The topics of desire and physical attraction build the centre of the sonnets. Hence, cardinal lust serves as an antithesis to the platonic love the poet illustrated in the previous 126 poems and marks once again the separation Shakespeare's from traditional sonnet concepts.<br /> <br /> The style of the sonnets is highly Anti-Petrarchan, since the admired Sonnet Lady here does not stand for chastity, virtue, elusiveness and is even by her looks (blond hair, blue eyes, pure skin) upheaved to a divine, angel-like creature. Instead, the Dark Lady is depicted differently in behaviour and appearance:<br /> <br /> [[File:Sonnet_130.jpg]]<br /> <br /> This sonnet is an example for a contre-blazon: Shakespeare mocks the traditional Petrarchan conceits (for an example according to Petrarch's concept see Spenser's sonnet 64), which idealise the Sonnet Lady and compare each of her body parts to beauties of nature. These typical idealisations are negated here – the Dark Lady is no goddess at all. The couplet makes clear that the poet does not need any false or exaggerated comparisons to distore his beloved's attractions since he is in love with a real woman.<br /> <br /> With the contruction of the &quot;unusual&quot; Sonnet Lady in contrast to Petrarchan concepts, Shakespeare was able to bring forwards topics of sexual dependence, subjectivity and blindness of the lover, as well as the inner conflict between desire and reason. (Suerbaum, p. 325)<br /> <br /> == Themes and motifs ==<br /> <br /> == Sources ==<br /> <br /> Puschmann-Nalenz, Barbara. ''Loves of comfort and despair''. Frankfurt: Akad. Verl.-Ges., 1974.<br /> <br /> Schabert, Ina. ''Shakespeare-Handbuch''. 4th ed. Stuttgart: Kröner, 2000.<br /> <br /> Suerbaum, Ulrich. ''Der Shakespeare-Führer''. Stuttgart: Reclam, 2001.</div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=Shakespeare%27s_sonnets&diff=8665 2012-12-12T13:21:30Z

<p>MGuttek: /* Sonnets 127-154: Dark Lady sequence */</p> <hr /> <div>Collection of 154 sonnets by [[William Shakespeare]] first published in 1609. The collection ends with the narrative poem &quot;A Lover's Complaint&quot;. While the first 17 sonnets of the collection are dealing with the topic of procreation and are addressed to a young man, and sonnets 18-126 are dealing with the writer's love to the young man, the last sequence (sonnets 127-154) is dedicated to the Dark Lady. Due to its internal separation of addressees, the collection highly differs from other sonnet sequences making use of traditional Petrarchan features such as the sequences of Edmund Spenser and Sir Philip Sidney.<br /> <br /> Whereas the traditional concepts of Elizabethan (love) sonnets dealt with courtly love in the manner of Petrarch, Shakespeare changed some fundamental aspects such as addressing a young man and his beauty as well as contradicting the Petrarchan sonnet tradition with the sexually oriented sonnets about the Dark Lady.<br /> The sonnet collection is considered to be the end of a long sonnet tradition, particularly regarding the English and Elizabethan love sonnet.<br /> <br /> == Structure and style ==<br /> <br /> Shakespeare makes use of Surrey's sonnet form with an abab cdcd efef gg rhyme scheme. Its metrical structure is iambic pentameter.<br /> <br /> The sonnets usually consist of two quartrains which emerge in a thematical octave, followed by a cesura in thought, a quartrain and a final rhyming couplet. Exceptions are sonnets 126 (which consists of rhyming couplets) and 145 (which makes use of 4 feet in one line instead of 5). The couplet is often set against the previous thoughts or else it is used for emphasis - it serves as a new form bringing reversal, new ideas or a conclusion.<br /> <br /> Though the sonnet collection seems to follow a certain chronology of sonnets, on closer consideration it is obvious that there are some irregularities. Thus, sonnets 76-86 deal with the poet's rival concerning the Fair Lord's love, but apparently sonnet 77 and sonnet 81 seem to be out of place. So, sonnet 81 offers itself to be a thematic and linguistic counterpart to sonnet 32 which itself functions as a thematically and linguistically foreign matter in its series of sonnets 29-35. According to that it is doubtful that Shakespeare's sonnets were written in the more or less precise order they appear in the collection.<br /> <br /> Shakespeare highly uses metaphors, symbols and conceits, and besides symbols of nature and love makes use of vocabulary of law, finances, medicine and other.<br /> <br /> == Sonnets 1-126: Fair Lord sequence ==<br /> <br /> Sonnets 1-126 are addressed to an unnamed young man, referred to as “Fair Lord”. Here the poet expresses his love and admiration for the Fair Lord, praising his beauty, while later on having an affair with the Dark Lady.<br /> <br /> In the sonnets, the Fair Lord stands for an idealised platonic love. It differs from the Petrarchan ideal since the poet addresses a young man instead of a traditional inapproachable Sonnet Lady. The Fair Lord is praised for his beauty, which was usually considered to be a female feature. Scholars tend to ascribe the poet's admiration towards a man as a hint to Shakespeare's supposed homosexuality. Indeed, the admiration could also refer to Neo-Platonic ideals, in which real love without sexual lust (as chastity is one of the ideals of the Petrarchan Sonnet Lady) is possible between men only. This ideal however is highly platonic.<br /> <br /> Furthermore, the Fair Lord contradicts the Petrarchan ideal by being depicted as a human being. Though he is praised for his beauty, he is not wholly idealised by being criticised for being selfish and doing hurtful things to the poet (sonnet 94) such as having another friend – the Rival Poet which appears in sonnets 78-86.<br /> <br /> Sonnets 1-17 build a sequence called “procreation sonnets”. A change in tone is given with sonnet 18, which moves expressed urge to marry to the announcement that the poet's Fair Lord will be immortalised in his verses. It is clear move to romantic intimacy, which continues in the following sonnets that depict the ups and downs of the relationship between the poet and the Fair Lord.<br /> <br /> === Sonnets 1-17: Procreation sonnets ===<br /> <br /> The sequence of “procreation sonnets” begins with the first sonnet and ends with sonnet 17. They address the Fair Lord and try to persuade him to marry and start a family in order to save his beauty with an heir.<br /> <br /> Here, the sonnets are dominated by imagery of the world of finances and law, which ascribed the assumption that Shakespeare wrote the first sonnets on commission for a young aristocrat, whose family wanted him to marry. Aspirants for the position of the friend were Henry Wriothesley, Earl of Southampton (to whom Shakespeare's Epics are dedicated) and William Herbert, Earl of Pembroke (to whom the folio edition is dedicated). Both men were young when Shakespeare wrote the sonnets, and both could not decide to marry for a long time, so that they possibly required the admonitions of the procreation sonnets.<br /> <br /> The sonnets are less poetical, what nonetheless vanishes with time when the friend is praised more by imagery of nature, which was typical for love poetry. The change find its peak with sonnet 18 and a total change in tone, going on with romantic intimacy.<br /> <br /> == Sonnets 127-154: Dark Lady sequence ==<br /> <br /> The Dark Lady sonnets begin with sonnet 127 and end with the last one, sonnet 154. The topics of desire and physical attraction build the centre of the sonnets. Hence, cardinal lust serves as an antithesis to the platonic love the poet illustrated in the previous 126 poems and marks once again the separation Shakespeare's from traditional sonnet concepts.<br /> <br /> The style of the sonnets is highly Anti-Petrarchan, since the admired Sonnet Lady here does not stand for chastity, virtue, elusiveness and is even by her looks (blond hair, blue eyes, pure skin) upheaved to a divine, angel-like creature. Instead, the Dark Lady is depicted differently in behaviour and appearance:<br /> <br /> [[File:Sonnet_130.jpg]]<br /> <br /> This sonnet is an example for a contre-blazon: Shakespeare mocks the traditional Petrarchan conceits (for an example according to Petrarch's concept see Spenser's sonnet 64), which idealise the Sonnet Lady and compare each of her body parts to beauties of nature. These typical idealisations are negated here – the Dark Lady is no goddess at all. The couplet makes clear that the poet does not need any false or exaggerated comparisons to distore his beloved's attractions since he is in love with a real woman.<br /> <br /> With the contruction of the &quot;unusual&quot; Sonnet Lady in contrast to Petrarchan concepts, Shakespeare was able to bring forwards topics of sexual dependence, subjectivity and blindness of the lover, as well as the inner conflict between desire and reason. (Suerbaum, p. 325)<br /> <br /> == Themes and motifs ==<br /> <br /> == Sources ==<br /> <br /> Puschmann-Nalenz, Barbara. ''Loves of comfort and despair''. Frankfurt: Akad. Verl.-Ges., 1974.<br /> <br /> Schabert, Ina. ''Shakespeare-Handbuch''. 4th ed. Stuttgart: Kröner, 2000.<br /> <br /> Suerbaum, Ulrich. ''Der Shakespeare-Führer''. Stuttgart: Reclam, 2001.</div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=Shakespeare%27s_sonnets&diff=8664 2012-12-12T13:20:04Z

<p>MGuttek: /* Sources */</p> <hr /> <div>Collection of 154 sonnets by [[William Shakespeare]] first published in 1609. The collection ends with the narrative poem &quot;A Lover's Complaint&quot;. While the first 17 sonnets of the collection are dealing with the topic of procreation and are addressed to a young man, and sonnets 18-126 are dealing with the writer's love to the young man, the last sequence (sonnets 127-154) is dedicated to the Dark Lady. Due to its internal separation of addressees, the collection highly differs from other sonnet sequences making use of traditional Petrarchan features such as the sequences of Edmund Spenser and Sir Philip Sidney.<br /> <br /> Whereas the traditional concepts of Elizabethan (love) sonnets dealt with courtly love in the manner of Petrarch, Shakespeare changed some fundamental aspects such as addressing a young man and his beauty as well as contradicting the Petrarchan sonnet tradition with the sexually oriented sonnets about the Dark Lady.<br /> The sonnet collection is considered to be the end of a long sonnet tradition, particularly regarding the English and Elizabethan love sonnet.<br /> <br /> == Structure and style ==<br /> <br /> Shakespeare makes use of Surrey's sonnet form with an abab cdcd efef gg rhyme scheme. Its metrical structure is iambic pentameter.<br /> <br /> The sonnets usually consist of two quartrains which emerge in a thematical octave, followed by a cesura in thought, a quartrain and a final rhyming couplet. Exceptions are sonnets 126 (which consists of rhyming couplets) and 145 (which makes use of 4 feet in one line instead of 5). The couplet is often set against the previous thoughts or else it is used for emphasis - it serves as a new form bringing reversal, new ideas or a conclusion.<br /> <br /> Though the sonnet collection seems to follow a certain chronology of sonnets, on closer consideration it is obvious that there are some irregularities. Thus, sonnets 76-86 deal with the poet's rival concerning the Fair Lord's love, but apparently sonnet 77 and sonnet 81 seem to be out of place. So, sonnet 81 offers itself to be a thematic and linguistic counterpart to sonnet 32 which itself functions as a thematically and linguistically foreign matter in its series of sonnets 29-35. According to that it is doubtful that Shakespeare's sonnets were written in the more or less precise order they appear in the collection.<br /> <br /> Shakespeare highly uses metaphors, symbols and conceits, and besides symbols of nature and love makes use of vocabulary of law, finances, medicine and other.<br /> <br /> == Sonnets 1-126: Fair Lord sequence ==<br /> <br /> Sonnets 1-126 are addressed to an unnamed young man, referred to as “Fair Lord”. Here the poet expresses his love and admiration for the Fair Lord, praising his beauty, while later on having an affair with the Dark Lady.<br /> <br /> In the sonnets, the Fair Lord stands for an idealised platonic love. It differs from the Petrarchan ideal since the poet addresses a young man instead of a traditional inapproachable Sonnet Lady. The Fair Lord is praised for his beauty, which was usually considered to be a female feature. Scholars tend to ascribe the poet's admiration towards a man as a hint to Shakespeare's supposed homosexuality. Indeed, the admiration could also refer to Neo-Platonic ideals, in which real love without sexual lust (as chastity is one of the ideals of the Petrarchan Sonnet Lady) is possible between men only. This ideal however is highly platonic.<br /> <br /> Furthermore, the Fair Lord contradicts the Petrarchan ideal by being depicted as a human being. Though he is praised for his beauty, he is not wholly idealised by being criticised for being selfish and doing hurtful things to the poet (sonnet 94) such as having another friend – the Rival Poet which appears in sonnets 78-86.<br /> <br /> Sonnets 1-17 build a sequence called “procreation sonnets”. A change in tone is given with sonnet 18, which moves expressed urge to marry to the announcement that the poet's Fair Lord will be immortalised in his verses. It is clear move to romantic intimacy, which continues in the following sonnets that depict the ups and downs of the relationship between the poet and the Fair Lord.<br /> <br /> === Sonnets 1-17: Procreation sonnets ===<br /> <br /> The sequence of “procreation sonnets” begins with the first sonnet and ends with sonnet 17. They address the Fair Lord and try to persuade him to marry and start a family in order to save his beauty with an heir.<br /> <br /> Here, the sonnets are dominated by imagery of the world of finances and law, which ascribed the assumption that Shakespeare wrote the first sonnets on commission for a young aristocrat, whose family wanted him to marry. Aspirants for the position of the friend were Henry Wriothesley, Earl of Southampton (to whom Shakespeare's Epics are dedicated) and William Herbert, Earl of Pembroke (to whom the folio edition is dedicated). Both men were young when Shakespeare wrote the sonnets, and both could not decide to marry for a long time, so that they possibly required the admonitions of the procreation sonnets.<br /> <br /> The sonnets are less poetical, what nonetheless vanishes with time when the friend is praised more by imagery of nature, which was typical for love poetry. The change find its peak with sonnet 18 and a total change in tone, going on with romantic intimacy.<br /> <br /> == Sonnets 127-154: Dark Lady sequence ==<br /> <br /> The Dark Lady sonnets begin with sonnet 127 and end with the last one, sonnet 154. The topics of desire and physical attraction build the centre of the sonnets. Hence, cardinal lust serves as an antithesis to the platonic love the poet illustrated in the previous 126 poems and marks once again the separation Shakespeare's from traditional sonnet concepts.<br /> <br /> The style of the sonnets is highly Anti-Petrarchan, since the admired Sonnet Lady here does not stand for chastity, virtue, elusiveness and is even by her looks (blond hair, blue eyes, pure skin) upheaved to a divine, angel-like creature. Instead, the Dark Lady is depicted differently in behaviour and appearance:<br /> <br /> [[File:Sonnet_130.jpg]]<br /> <br /> This sonnet is an example for a contre-blazon: Shakespeare mocks the traditional Petrarchan conceits (for an example according to Petrarch's concept see Spenser's sonnet 64), which idealise the Sonnet Lady and compare each of her body parts to beauties of nature. These typical idealisations are negated here – the Dark Lady is no goddess at all. The couplet makes clear that the poet does not need any false or exaggerated comparisons to distore his beloved's attractions since he is in love with a real woman.<br /> <br /> With the contruction of the &quot;unusual&quot; Sonnet Lady in contrast to Petrarchan concepts, Shakespeare was able to bring forwards topics of sexual dependence, subjectivity and blindness of the lover, as well as the inner conflict between desire and reason.<br /> <br /> == Themes and motifs ==<br /> <br /> == Sources ==<br /> <br /> Puschmann-Nalenz, Barbara. ''Loves of comfort and despair''. Frankfurt: Akad. Verl.-Ges., 1974.<br /> <br /> Schabert, Ina. ''Shakespeare-Handbuch''. 4th ed. Stuttgart: Kröner, 2000.<br /> <br /> Suerbaum, Ulrich. ''Der Shakespeare-Führer''. Stuttgart: Reclam, 2001.</div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=Shakespeare%27s_sonnets&diff=8663 2012-12-12T13:19:42Z

<p>MGuttek: </p> <hr /> <div>Collection of 154 sonnets by [[William Shakespeare]] first published in 1609. The collection ends with the narrative poem &quot;A Lover's Complaint&quot;. While the first 17 sonnets of the collection are dealing with the topic of procreation and are addressed to a young man, and sonnets 18-126 are dealing with the writer's love to the young man, the last sequence (sonnets 127-154) is dedicated to the Dark Lady. Due to its internal separation of addressees, the collection highly differs from other sonnet sequences making use of traditional Petrarchan features such as the sequences of Edmund Spenser and Sir Philip Sidney.<br /> <br /> Whereas the traditional concepts of Elizabethan (love) sonnets dealt with courtly love in the manner of Petrarch, Shakespeare changed some fundamental aspects such as addressing a young man and his beauty as well as contradicting the Petrarchan sonnet tradition with the sexually oriented sonnets about the Dark Lady.<br /> The sonnet collection is considered to be the end of a long sonnet tradition, particularly regarding the English and Elizabethan love sonnet.<br /> <br /> == Structure and style ==<br /> <br /> Shakespeare makes use of Surrey's sonnet form with an abab cdcd efef gg rhyme scheme. Its metrical structure is iambic pentameter.<br /> <br /> The sonnets usually consist of two quartrains which emerge in a thematical octave, followed by a cesura in thought, a quartrain and a final rhyming couplet. Exceptions are sonnets 126 (which consists of rhyming couplets) and 145 (which makes use of 4 feet in one line instead of 5). The couplet is often set against the previous thoughts or else it is used for emphasis - it serves as a new form bringing reversal, new ideas or a conclusion.<br /> <br /> Though the sonnet collection seems to follow a certain chronology of sonnets, on closer consideration it is obvious that there are some irregularities. Thus, sonnets 76-86 deal with the poet's rival concerning the Fair Lord's love, but apparently sonnet 77 and sonnet 81 seem to be out of place. So, sonnet 81 offers itself to be a thematic and linguistic counterpart to sonnet 32 which itself functions as a thematically and linguistically foreign matter in its series of sonnets 29-35. According to that it is doubtful that Shakespeare's sonnets were written in the more or less precise order they appear in the collection.<br /> <br /> Shakespeare highly uses metaphors, symbols and conceits, and besides symbols of nature and love makes use of vocabulary of law, finances, medicine and other.<br /> <br /> == Sonnets 1-126: Fair Lord sequence ==<br /> <br /> Sonnets 1-126 are addressed to an unnamed young man, referred to as “Fair Lord”. Here the poet expresses his love and admiration for the Fair Lord, praising his beauty, while later on having an affair with the Dark Lady.<br /> <br /> In the sonnets, the Fair Lord stands for an idealised platonic love. It differs from the Petrarchan ideal since the poet addresses a young man instead of a traditional inapproachable Sonnet Lady. The Fair Lord is praised for his beauty, which was usually considered to be a female feature. Scholars tend to ascribe the poet's admiration towards a man as a hint to Shakespeare's supposed homosexuality. Indeed, the admiration could also refer to Neo-Platonic ideals, in which real love without sexual lust (as chastity is one of the ideals of the Petrarchan Sonnet Lady) is possible between men only. This ideal however is highly platonic.<br /> <br /> Furthermore, the Fair Lord contradicts the Petrarchan ideal by being depicted as a human being. Though he is praised for his beauty, he is not wholly idealised by being criticised for being selfish and doing hurtful things to the poet (sonnet 94) such as having another friend – the Rival Poet which appears in sonnets 78-86.<br /> <br /> Sonnets 1-17 build a sequence called “procreation sonnets”. A change in tone is given with sonnet 18, which moves expressed urge to marry to the announcement that the poet's Fair Lord will be immortalised in his verses. It is clear move to romantic intimacy, which continues in the following sonnets that depict the ups and downs of the relationship between the poet and the Fair Lord.<br /> <br /> === Sonnets 1-17: Procreation sonnets ===<br /> <br /> The sequence of “procreation sonnets” begins with the first sonnet and ends with sonnet 17. They address the Fair Lord and try to persuade him to marry and start a family in order to save his beauty with an heir.<br /> <br /> Here, the sonnets are dominated by imagery of the world of finances and law, which ascribed the assumption that Shakespeare wrote the first sonnets on commission for a young aristocrat, whose family wanted him to marry. Aspirants for the position of the friend were Henry Wriothesley, Earl of Southampton (to whom Shakespeare's Epics are dedicated) and William Herbert, Earl of Pembroke (to whom the folio edition is dedicated). Both men were young when Shakespeare wrote the sonnets, and both could not decide to marry for a long time, so that they possibly required the admonitions of the procreation sonnets.<br /> <br /> The sonnets are less poetical, what nonetheless vanishes with time when the friend is praised more by imagery of nature, which was typical for love poetry. The change find its peak with sonnet 18 and a total change in tone, going on with romantic intimacy.<br /> <br /> == Sonnets 127-154: Dark Lady sequence ==<br /> <br /> The Dark Lady sonnets begin with sonnet 127 and end with the last one, sonnet 154. The topics of desire and physical attraction build the centre of the sonnets. Hence, cardinal lust serves as an antithesis to the platonic love the poet illustrated in the previous 126 poems and marks once again the separation Shakespeare's from traditional sonnet concepts.<br /> <br /> The style of the sonnets is highly Anti-Petrarchan, since the admired Sonnet Lady here does not stand for chastity, virtue, elusiveness and is even by her looks (blond hair, blue eyes, pure skin) upheaved to a divine, angel-like creature. Instead, the Dark Lady is depicted differently in behaviour and appearance:<br /> <br /> [[File:Sonnet_130.jpg]]<br /> <br /> This sonnet is an example for a contre-blazon: Shakespeare mocks the traditional Petrarchan conceits (for an example according to Petrarch's concept see Spenser's sonnet 64), which idealise the Sonnet Lady and compare each of her body parts to beauties of nature. These typical idealisations are negated here – the Dark Lady is no goddess at all. The couplet makes clear that the poet does not need any false or exaggerated comparisons to distore his beloved's attractions since he is in love with a real woman.<br /> <br /> With the contruction of the &quot;unusual&quot; Sonnet Lady in contrast to Petrarchan concepts, Shakespeare was able to bring forwards topics of sexual dependence, subjectivity and blindness of the lover, as well as the inner conflict between desire and reason.<br /> <br /> == Themes and motifs ==<br /> <br /> == Sources ==<br /> <br /> Puschmann-Nalenz, Barbara. 'Loves of comfort and despair'. Frankfurt: Akad. Verl.-Ges., 1974.<br /> <br /> Schabert, Ina. 'Shakespeare-Handbuch'. 4th ed. Stuttgart: Kröner, 2000.<br /> <br /> Suerbaum, Ulrich. 'Der Shakespeare-Führer'. Stuttgart: Reclam, 2001.</div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=Shakespeare%27s_sonnets&diff=8662 2012-12-12T13:14:11Z

<p>MGuttek: /* Sonnets 127-154: Dark Lady sequence */</p> <hr /> <div>Collection of 154 sonnets by [[William Shakespeare]] first published in 1609. The collection ends with the narrative poem &quot;A Lover's Complaint&quot;. While the first 17 sonnets of the collection are dealing with the topic of procreation and are addressed to a young man, and sonnets 18-126 are dealing with the writer's love to the young man, the last sequence (sonnets 127-154) is dedicated to the Dark Lady. Due to its internal separation of addressees, the collection highly differs from other sonnet sequences making use of traditional Petrarchan features such as the sequences of Edmund Spenser and Sir Philip Sidney.<br /> <br /> Whereas the traditional concepts of Elizabethan (love) sonnets dealt with courtly love in the manner of Petrarch, Shakespeare changed some fundamental aspects such as addressing a young man and his beauty as well as contradicting the Petrarchan sonnet tradition with the sexually oriented sonnets about the Dark Lady.<br /> The sonnet collection is considered to be the end of a long sonnet tradition, particularly regarding the English and Elizabethan love sonnet.<br /> <br /> == Structure and style ==<br /> <br /> Shakespeare makes use of Surrey's sonnet form with an abab cdcd efef gg rhyme scheme. Its metrical structure is iambic pentameter.<br /> <br /> The sonnets usually consist of two quartrains which emerge in a thematical octave, followed by a cesura in thought, a quartrain and a final rhyming couplet. Exceptions are sonnets 126 (which consists of rhyming couplets) and 145 (which makes use of 4 feet in one line instead of 5). The couplet is often set against the previous thoughts or else it is used for emphasis - it serves as a new form bringing reversal, new ideas or a conclusion.<br /> <br /> Though the sonnet collection seems to follow a certain chronology of sonnets, on closer consideration it is obvious that there are some irregularities. Thus, sonnets 76-86 deal with the poet's rival concerning the Fair Lord's love, but apparently sonnet 77 and sonnet 81 seem to be out of place. So, sonnet 81 offers itself to be a thematic and linguistic counterpart to sonnet 32 which itself functions as a thematically and linguistically foreign matter in its series of sonnets 29-35. According to that it is doubtful that Shakespeare's sonnets were written in the more or less precise order they appear in the collection.<br /> <br /> Shakespeare highly uses metaphors, symbols and conceits, and besides symbols of nature and love makes use of vocabulary of law, finances, medicine and other.<br /> <br /> == Sonnets 1-126: Fair Lord sequence ==<br /> <br /> Sonnets 1-126 are addressed to an unnamed young man, referred to as “Fair Lord”. Here the poet expresses his love and admiration for the Fair Lord, praising his beauty, while later on having an affair with the Dark Lady.<br /> <br /> In the sonnets, the Fair Lord stands for an idealised platonic love. It differs from the Petrarchan ideal since the poet addresses a young man instead of a traditional inapproachable Sonnet Lady. The Fair Lord is praised for his beauty, which was usually considered to be a female feature. Scholars tend to ascribe the poet's admiration towards a man as a hint to Shakespeare's supposed homosexuality. Indeed, the admiration could also refer to Neo-Platonic ideals, in which real love without sexual lust (as chastity is one of the ideals of the Petrarchan Sonnet Lady) is possible between men only. This ideal however is highly platonic.<br /> <br /> Furthermore, the Fair Lord contradicts the Petrarchan ideal by being depicted as a human being. Though he is praised for his beauty, he is not wholly idealised by being criticised for being selfish and doing hurtful things to the poet (sonnet 94) such as having another friend – the Rival Poet which appears in sonnets 78-86.<br /> <br /> Sonnets 1-17 build a sequence called “procreation sonnets”. A change in tone is given with sonnet 18, which moves expressed urge to marry to the announcement that the poet's Fair Lord will be immortalised in his verses. It is clear move to romantic intimacy, which continues in the following sonnets that depict the ups and downs of the relationship between the poet and the Fair Lord.<br /> <br /> === Sonnets 1-17: Procreation sonnets ===<br /> <br /> The sequence of “procreation sonnets” begins with the first sonnet and ends with sonnet 17. They address the Fair Lord and try to persuade him to marry and start a family in order to save his beauty with an heir.<br /> <br /> Here, the sonnets are dominated by imagery of the world of finances and law, which ascribed the assumption that Shakespeare wrote the first sonnets on commission for a young aristocrat, whose family wanted him to marry. Aspirants for the position of the friend were Henry Wriothesley, Earl of Southampton (to whom Shakespeare's Epics are dedicated) and William Herbert, Earl of Pembroke (to whom the folio edition is dedicated). Both men were young when Shakespeare wrote the sonnets, and both could not decide to marry for a long time, so that they possibly required the admonitions of the procreation sonnets.<br /> <br /> The sonnets are less poetical, what nonetheless vanishes with time when the friend is praised more by imagery of nature, which was typical for love poetry. The change find its peak with sonnet 18 and a total change in tone, going on with romantic intimacy.<br /> <br /> == Sonnets 127-154: Dark Lady sequence ==<br /> <br /> The Dark Lady sonnets begin with sonnet 127 and end with the last one, sonnet 154. The topics of desire and physical attraction build the centre of the sonnets. Hence, cardinal lust serves as an antithesis to the platonic love the poet illustrated in the previous 126 poems and marks once again the separation Shakespeare's from traditional sonnet concepts.<br /> <br /> The style of the sonnets is highly Anti-Petrarchan, since the admired Sonnet Lady here does not stand for chastity, virtue, elusiveness and is even by her looks (blond hair, blue eyes, pure skin) upheaved to a divine, angel-like creature. Instead, the Dark Lady is depicted differently in behaviour and appearance:<br /> <br /> [[File:Sonnet_130.jpg]]<br /> <br /> This sonnet is an example for a contre-blazon: Shakespeare mocks the traditional Petrarchan conceits (for an example according to Petrarch's concept see Spenser's sonnet 64), which idealise the Sonnet Lady and compare each of her body parts to beauties of nature. These typical idealisations are negated here – the Dark Lady is no goddess at all. The couplet makes clear that the poet does not need any false or exaggerated comparisons to distore his beloved's attractions since he is in love with a real woman.<br /> <br /> With the contruction of the &quot;unusual&quot; Sonnet Lady in contrast to Petrarchan concepts, Shakespeare was able to bring forwards topics of sexual dependence, subjectivity and blindness of the lover, as well as the inner conflict between desire and reason.<br /> <br /> == Themes and motifs ==</div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=File:Sonnet_130.jpg&diff=8661 2012-12-12T13:13:56Z

<p>MGuttek: </p> <hr /> <div></div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=Shakespeare%27s_sonnets&diff=8660 2012-12-12T13:09:06Z

<p>MGuttek: /* Sonnets 127-154: Dark Lady sequence */</p> <hr /> <div>Collection of 154 sonnets by [[William Shakespeare]] first published in 1609. The collection ends with the narrative poem &quot;A Lover's Complaint&quot;. While the first 17 sonnets of the collection are dealing with the topic of procreation and are addressed to a young man, and sonnets 18-126 are dealing with the writer's love to the young man, the last sequence (sonnets 127-154) is dedicated to the Dark Lady. Due to its internal separation of addressees, the collection highly differs from other sonnet sequences making use of traditional Petrarchan features such as the sequences of Edmund Spenser and Sir Philip Sidney.<br /> <br /> Whereas the traditional concepts of Elizabethan (love) sonnets dealt with courtly love in the manner of Petrarch, Shakespeare changed some fundamental aspects such as addressing a young man and his beauty as well as contradicting the Petrarchan sonnet tradition with the sexually oriented sonnets about the Dark Lady.<br /> The sonnet collection is considered to be the end of a long sonnet tradition, particularly regarding the English and Elizabethan love sonnet.<br /> <br /> == Structure and style ==<br /> <br /> Shakespeare makes use of Surrey's sonnet form with an abab cdcd efef gg rhyme scheme. Its metrical structure is iambic pentameter.<br /> <br /> The sonnets usually consist of two quartrains which emerge in a thematical octave, followed by a cesura in thought, a quartrain and a final rhyming couplet. Exceptions are sonnets 126 (which consists of rhyming couplets) and 145 (which makes use of 4 feet in one line instead of 5). The couplet is often set against the previous thoughts or else it is used for emphasis - it serves as a new form bringing reversal, new ideas or a conclusion.<br /> <br /> Though the sonnet collection seems to follow a certain chronology of sonnets, on closer consideration it is obvious that there are some irregularities. Thus, sonnets 76-86 deal with the poet's rival concerning the Fair Lord's love, but apparently sonnet 77 and sonnet 81 seem to be out of place. So, sonnet 81 offers itself to be a thematic and linguistic counterpart to sonnet 32 which itself functions as a thematically and linguistically foreign matter in its series of sonnets 29-35. According to that it is doubtful that Shakespeare's sonnets were written in the more or less precise order they appear in the collection.<br /> <br /> Shakespeare highly uses metaphors, symbols and conceits, and besides symbols of nature and love makes use of vocabulary of law, finances, medicine and other.<br /> <br /> == Sonnets 1-126: Fair Lord sequence ==<br /> <br /> Sonnets 1-126 are addressed to an unnamed young man, referred to as “Fair Lord”. Here the poet expresses his love and admiration for the Fair Lord, praising his beauty, while later on having an affair with the Dark Lady.<br /> <br /> In the sonnets, the Fair Lord stands for an idealised platonic love. It differs from the Petrarchan ideal since the poet addresses a young man instead of a traditional inapproachable Sonnet Lady. The Fair Lord is praised for his beauty, which was usually considered to be a female feature. Scholars tend to ascribe the poet's admiration towards a man as a hint to Shakespeare's supposed homosexuality. Indeed, the admiration could also refer to Neo-Platonic ideals, in which real love without sexual lust (as chastity is one of the ideals of the Petrarchan Sonnet Lady) is possible between men only. This ideal however is highly platonic.<br /> <br /> Furthermore, the Fair Lord contradicts the Petrarchan ideal by being depicted as a human being. Though he is praised for his beauty, he is not wholly idealised by being criticised for being selfish and doing hurtful things to the poet (sonnet 94) such as having another friend – the Rival Poet which appears in sonnets 78-86.<br /> <br /> Sonnets 1-17 build a sequence called “procreation sonnets”. A change in tone is given with sonnet 18, which moves expressed urge to marry to the announcement that the poet's Fair Lord will be immortalised in his verses. It is clear move to romantic intimacy, which continues in the following sonnets that depict the ups and downs of the relationship between the poet and the Fair Lord.<br /> <br /> === Sonnets 1-17: Procreation sonnets ===<br /> <br /> The sequence of “procreation sonnets” begins with the first sonnet and ends with sonnet 17. They address the Fair Lord and try to persuade him to marry and start a family in order to save his beauty with an heir.<br /> <br /> Here, the sonnets are dominated by imagery of the world of finances and law, which ascribed the assumption that Shakespeare wrote the first sonnets on commission for a young aristocrat, whose family wanted him to marry. Aspirants for the position of the friend were Henry Wriothesley, Earl of Southampton (to whom Shakespeare's Epics are dedicated) and William Herbert, Earl of Pembroke (to whom the folio edition is dedicated). Both men were young when Shakespeare wrote the sonnets, and both could not decide to marry for a long time, so that they possibly required the admonitions of the procreation sonnets.<br /> <br /> The sonnets are less poetical, what nonetheless vanishes with time when the friend is praised more by imagery of nature, which was typical for love poetry. The change find its peak with sonnet 18 and a total change in tone, going on with romantic intimacy.<br /> <br /> == Sonnets 127-154: Dark Lady sequence ==<br /> <br /> The Dark Lady sonnets begin with sonnet 127 and end with the last one, sonnet 154. The topics of desire and physical attraction build the centre of the sonnets. Hence, cardinal lust serves as an antithesis to the platonic love the poet illustrated in the previous 126 poems and marks once again the separation Shakespeare's from traditional sonnet concepts.<br /> <br /> The style of the sonnets is highly Anti-Petrarchan, since the admired Sonnet Lady here does not stand for chastity, virtue, elusiveness and is even by her looks (blond hair, blue eyes, pure skin) upheaved to a divine, angel-like creature. Instead, the Dark Lady is depicted differently in behaviour and appearance:<br /> <br /> 'My mistress' eyes are nothing like the sun;<br /> <br /> Coral is far more red than her lips' red;<br /> <br /> If snow be white, why then her breasts are dun;<br /> <br /> If hairs be wires, black wires grow on her head.<br /> <br /> I have seen roses damask'd, red and white,<br /> <br /> But no such roses see I in her cheeks;<br /> <br /> And in some perfumes is there more delight<br /> <br /> Than in the breath that from my mistress reeks.<br /> <br /> I love to hear her speak, yet well I know<br /> <br /> That music hath a far more pleasing sound;<br /> <br /> I grant I never saw a goddess go;<br /> <br /> My mistress, when she walks, treads on the ground:<br /> <br /> And yet, by heaven, I think my love as rare<br /> <br /> As any she belied with false compare.''<br /> <br /> This sonnet is an example for a contre-blazon: Shakespeare mocks the traditional Petrarchan conceits (for an example according to Petrarch's concept see Spenser's sonnet 64), which idealise the Sonnet Lady and compare each of her body parts to beauties of nature. These typical idealisations are negated here – the Dark Lady is no goddess at all. The couplet makes clear that the poet does not need any false or exaggerated comparisons to distore his beloved's attractions since he is in love with a real woman.<br /> <br /> With the contruction of the &quot;unusual&quot; Sonnet Lady in contrast to Petrarchan concepts, Shakespeare was able to bring forwards topics of sexual dependence, subjectivity and blindness of the lover, as well as the inner conflict between desire and reason.<br /> <br /> == Themes and motifs ==</div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=Shakespeare%27s_sonnets&diff=8659 2012-12-12T13:06:19Z

<p>MGuttek: </p> <hr /> <div>Collection of 154 sonnets by [[William Shakespeare]] first published in 1609. The collection ends with the narrative poem &quot;A Lover's Complaint&quot;. While the first 17 sonnets of the collection are dealing with the topic of procreation and are addressed to a young man, and sonnets 18-126 are dealing with the writer's love to the young man, the last sequence (sonnets 127-154) is dedicated to the Dark Lady. Due to its internal separation of addressees, the collection highly differs from other sonnet sequences making use of traditional Petrarchan features such as the sequences of Edmund Spenser and Sir Philip Sidney.<br /> <br /> Whereas the traditional concepts of Elizabethan (love) sonnets dealt with courtly love in the manner of Petrarch, Shakespeare changed some fundamental aspects such as addressing a young man and his beauty as well as contradicting the Petrarchan sonnet tradition with the sexually oriented sonnets about the Dark Lady.<br /> The sonnet collection is considered to be the end of a long sonnet tradition, particularly regarding the English and Elizabethan love sonnet.<br /> <br /> == Structure and style ==<br /> <br /> Shakespeare makes use of Surrey's sonnet form with an abab cdcd efef gg rhyme scheme. Its metrical structure is iambic pentameter.<br /> <br /> The sonnets usually consist of two quartrains which emerge in a thematical octave, followed by a cesura in thought, a quartrain and a final rhyming couplet. Exceptions are sonnets 126 (which consists of rhyming couplets) and 145 (which makes use of 4 feet in one line instead of 5). The couplet is often set against the previous thoughts or else it is used for emphasis - it serves as a new form bringing reversal, new ideas or a conclusion.<br /> <br /> Though the sonnet collection seems to follow a certain chronology of sonnets, on closer consideration it is obvious that there are some irregularities. Thus, sonnets 76-86 deal with the poet's rival concerning the Fair Lord's love, but apparently sonnet 77 and sonnet 81 seem to be out of place. So, sonnet 81 offers itself to be a thematic and linguistic counterpart to sonnet 32 which itself functions as a thematically and linguistically foreign matter in its series of sonnets 29-35. According to that it is doubtful that Shakespeare's sonnets were written in the more or less precise order they appear in the collection.<br /> <br /> Shakespeare highly uses metaphors, symbols and conceits, and besides symbols of nature and love makes use of vocabulary of law, finances, medicine and other.<br /> <br /> == Sonnets 1-126: Fair Lord sequence ==<br /> <br /> Sonnets 1-126 are addressed to an unnamed young man, referred to as “Fair Lord”. Here the poet expresses his love and admiration for the Fair Lord, praising his beauty, while later on having an affair with the Dark Lady.<br /> <br /> In the sonnets, the Fair Lord stands for an idealised platonic love. It differs from the Petrarchan ideal since the poet addresses a young man instead of a traditional inapproachable Sonnet Lady. The Fair Lord is praised for his beauty, which was usually considered to be a female feature. Scholars tend to ascribe the poet's admiration towards a man as a hint to Shakespeare's supposed homosexuality. Indeed, the admiration could also refer to Neo-Platonic ideals, in which real love without sexual lust (as chastity is one of the ideals of the Petrarchan Sonnet Lady) is possible between men only. This ideal however is highly platonic.<br /> <br /> Furthermore, the Fair Lord contradicts the Petrarchan ideal by being depicted as a human being. Though he is praised for his beauty, he is not wholly idealised by being criticised for being selfish and doing hurtful things to the poet (sonnet 94) such as having another friend – the Rival Poet which appears in sonnets 78-86.<br /> <br /> Sonnets 1-17 build a sequence called “procreation sonnets”. A change in tone is given with sonnet 18, which moves expressed urge to marry to the announcement that the poet's Fair Lord will be immortalised in his verses. It is clear move to romantic intimacy, which continues in the following sonnets that depict the ups and downs of the relationship between the poet and the Fair Lord.<br /> <br /> === Sonnets 1-17: Procreation sonnets ===<br /> <br /> The sequence of “procreation sonnets” begins with the first sonnet and ends with sonnet 17. They address the Fair Lord and try to persuade him to marry and start a family in order to save his beauty with an heir.<br /> <br /> Here, the sonnets are dominated by imagery of the world of finances and law, which ascribed the assumption that Shakespeare wrote the first sonnets on commission for a young aristocrat, whose family wanted him to marry. Aspirants for the position of the friend were Henry Wriothesley, Earl of Southampton (to whom Shakespeare's Epics are dedicated) and William Herbert, Earl of Pembroke (to whom the folio edition is dedicated). Both men were young when Shakespeare wrote the sonnets, and both could not decide to marry for a long time, so that they possibly required the admonitions of the procreation sonnets.<br /> <br /> The sonnets are less poetical, what nonetheless vanishes with time when the friend is praised more by imagery of nature, which was typical for love poetry. The change find its peak with sonnet 18 and a total change in tone, going on with romantic intimacy.<br /> <br /> == Sonnets 127-154: Dark Lady sequence ==<br /> <br /> The Dark Lady sonnets begin with sonnet 127 and end with the last one, sonnet 154. The topics of desire and physical attraction build the centre of the sonnets. Hence, cardinal lust serves as an antithesis to the platonic love the poet illustrated in the previous 126 poems and marks once again the separation Shakespeare's from traditional sonnet concepts.<br /> <br /> The style of the sonnets is highly Anti-Petrarchan, since the admired Sonnet Lady here does not stand for chastity, virtue, elusiveness and is even by her looks (blond hair, blue eyes, pure skin) upheaved to a divine, angel-like creature. Instead, the Dark Lady is depicted differently in behaviour and appearance:<br /> <br /> ''My mistress' eyes are nothing like the sun;<br /> <br /> Coral is far more red than her lips' red;<br /> <br /> If snow be white, why then her breasts are dun;<br /> <br /> If hairs be wires, black wires grow on her head.<br /> <br /> I have seen roses damask'd, red and white,<br /> <br /> But no such roses see I in her cheeks;<br /> <br /> And in some perfumes is there more delight<br /> <br /> Than in the breath that from my mistress reeks.<br /> <br /> I love to hear her speak, yet well I know<br /> <br /> That music hath a far more pleasing sound;<br /> <br /> I grant I never saw a goddess go;<br /> <br /> My mistress, when she walks, treads on the ground:<br /> <br /> And yet, by heaven, I think my love as rare<br /> <br /> As any she belied with false compare.''<br /> <br /> This sonnet is an example for a contre-blazon: Shakespeare mocks the traditional Petrarchan conceits (for an example according to Petrarch's concept see Spenser's sonnet 64), which idealise the Sonnet Lady and compare each of her body parts to beauties of nature. These typical idealisations are negated here – the Dark Lady is no goddess at all. The couplet makes clear that the poet does not need any false or exaggerated comparisons to distore his beloved's attractions since he is in love with a real woman.<br /> <br /> With the contruction of the &quot;unusual&quot; Sonnet Lady in contrast to Petrarchan concepts, Shakespeare was able to bring forwards topics of sexual dependence, subjectivity and blindness of the lover, as well as the inner conflict between desire and reason.<br /> <br /> == Themes and motifs ==</div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=Shakespeare%27s_sonnets&diff=8658 2012-12-12T13:05:08Z

<p>MGuttek: /* Sonnets 127-154: Dark Lady sequence */</p> <hr /> <div>Collection of 154 sonnets by [[William Shakespeare]] first published in 1609. The collection ends with the narrative poem &quot;A Lover's Complaint&quot;. While the first 17 sonnets of the collection are dealing with the topic of procreation and are addressed to a young man, and sonnets 18-126 are dealing with the writer's love to the young man, the last sequence (sonnets 127-154) is dedicated to the Dark Lady. Due to its internal separation of addressees, the collection highly differs from other sonnet sequences making use of traditional Petrarchan features such as the sequences of Edmund Spenser and Sir Philip Sidney.<br /> <br /> Whereas the traditional concepts of Elizabethan (love) sonnets dealt with courtly love in the manner of Petrarch, Shakespeare changed some fundamental aspects such as addressing a young man and his beauty as well as contradicting the Petrarchan sonnet tradition with the sexually oriented sonnets about the Dark Lady.<br /> The sonnet collection is considered to be the end of a long sonnet tradition, particularly regarding the English and Elizabethan love sonnet.<br /> <br /> == Structure and style ==<br /> <br /> Shakespeare makes use of Surrey's sonnet form with an abab cdcd efef gg rhyme scheme. Its metrical structure is iambic pentameter.<br /> <br /> The sonnets usually consist of two quartrains which emerge in a thematical octave, followed by a cesura in thought, a quartrain and a final rhyming couplet. Exceptions are sonnets 126 (which consists of rhyming couplets) and 145 (which makes use of 4 feet in one line instead of 5). The couplet is often set against the previous thoughts or else it is used for emphasis - it serves as a new form bringing reversal, new ideas or a conclusion.<br /> <br /> Though the sonnet collection seems to follow a certain chronology of sonnets, on closer consideration it is obvious that there are some irregularities. Thus, sonnets 76-86 deal with the poet's rival concerning the Fair Lord's love, but apparently sonnet 77 and sonnet 81 seem to be out of place. So, sonnet 81 offers itself to be a thematic and linguistic counterpart to sonnet 32 which itself functions as a thematically and linguistically foreign matter in its series of sonnets 29-35. According to that it is doubtful that Shakespeare's sonnets were written in the more or less precise order they appear in the collection.<br /> <br /> Shakespeare highly uses metaphors, symbols and conceits, and besides symbols of nature and love makes use of vocabulary of law, finances, medicine and so on.<br /> <br /> == Sonnets 1-126: Fair Lord sequence ==<br /> <br /> Sonnets 1-126 are addressed to an unnamed young man, referred to as “Fair Lord”. Here the poet expresses his love and admiration for the Fair Lord, praising his beauty, while later on having an affair with the Dark Lady.<br /> <br /> In the sonnets, the Fair Lord stands for an idealised platonic love. It differs from the Petrarchan ideal since the poet addresses a young man instead of a traditional inapproachable Sonnet Lady. The Fair Lord is praised for his beauty, which was usually considered to be a female feature. Scholars tend to ascribe the poet's admiration towards a man as a hint to Shakespeare's supposed homosexuality. Indeed, the admiration could also refer to Neo-Platonic ideals, in which real love without sexual lust (as chastity is one of the ideals of the Petrarchan Sonnet Lady) is possible between men only. This ideal however is highly platonic.<br /> <br /> Furthermore, the Fair Lord contradicts the Petrarchan ideal by being depicted as a human being. Though he is praised for his beauty, he is not wholly idealised by being criticised for being selfish and doing hurtful things to the poet (sonnet 94) such as having another friend – the Rival Poet which appears in sonnets 78-86.<br /> <br /> Sonnets 1-17 build a sequence called “procreation sonnets”. A change in tone is given with sonnet 18, which moves expressed urge to marry to the announcement that the poet's Fair Lord will be immortalised in his verses. It is clear move to romantic intimacy, which continues in the following sonnets that depict the ups and downs of the relationship between the poet and the Fair Lord.<br /> <br /> === Sonnets 1-17: Procreation sonnets ===<br /> <br /> The sequence of “procreation sonnets” begins with the first sonnet and ends with sonnet 17. They address the Fair Lord and try to persuade him to marry and start a family in order to save his beauty with an heir.<br /> <br /> Here, the sonnets are dominated by imagery of the world of finances and law, which ascribed the assumption that Shakespeare wrote the first sonnets on commission for a young aristocrat, whose family wanted him to marry. Aspirants for the position of the friend were Henry Wriothesley, Earl of Southampton (to whom Shakespeare's Epics are dedicated) and William Herbert, Earl of Pembroke (to whom the folio edition is dedicated). Both men were young when Shakespeare wrote the sonnets, and both could not decide to marry for a long time, so that they possibly required the admonitions of the procreation sonnets.<br /> <br /> The sonnets are less poetical, what nonetheless vanishes with time when the friend is praised more by imagery of nature, which was typical for love poetry. The change find its peak with sonnet 18 and a total change in tone, going on with romantic intimacy.<br /> <br /> == Sonnets 127-154: Dark Lady sequence ==<br /> <br /> The Dark Lady sonnets begin with sonnet 127 and end with the last one, sonnet 154. The topics of desire and physical attraction build the centre of the sonnets. Hence, cardinal lust serves as an antithesis to the platonic love the poet illustrated in the previous 126 poems and marks once again the separation Shakespeare's from traditional sonnet concepts.<br /> <br /> The style of the sonnets is highly Anti-Petrarchan, since the admired Sonnet Lady here does not stand for chastity, virtue, elusiveness and is even by her looks (blond hair, blue eyes, pure skin) upheaved to a divine, angel-like creature. Instead, the Dark Lady is depicted differently in behaviour and appearance:<br /> <br /> ''My mistress' eyes are nothing like the sun;<br /> <br /> Coral is far more red than her lips' red;<br /> <br /> If snow be white, why then her breasts are dun;<br /> <br /> If hairs be wires, black wires grow on her head.<br /> <br /> I have seen roses damask'd, red and white,<br /> <br /> But no such roses see I in her cheeks;<br /> <br /> And in some perfumes is there more delight<br /> <br /> Than in the breath that from my mistress reeks.<br /> <br /> I love to hear her speak, yet well I know<br /> <br /> That music hath a far more pleasing sound;<br /> <br /> I grant I never saw a goddess go;<br /> <br /> My mistress, when she walks, treads on the ground:<br /> <br /> And yet, by heaven, I think my love as rare<br /> <br /> As any she belied with false compare.''<br /> <br /> This sonnet is an example for a contre-blazon: Shakespeare mocks the traditional Petrarchan conceits (for an example according to Petrarch's concept see Spenser's sonnet 64), which idealise the Sonnet Lady and compare each of her body parts to beauties of nature. These typical idealisations are negated here – the Dark Lady is no goddess at all. The couplet makes clear that the poet does not need any false or exaggerated comparisons to distore his beloved's attractions since he is in love with a real woman.<br /> <br /> With the contruction of the &quot;unusual&quot; Sonnet Lady in contrast to Petrarchan concepts, Shakespeare was able to bring forwards topics of sexual dependence, subjectivity and blindness of the lover, as well as the inner conflict between desire and reason.<br /> <br /> == Themes and motifs ==</div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=Shakespeare%27s_sonnets&diff=8657 2012-12-12T13:04:09Z

<p>MGuttek: /* Sonnets 127-154: Dark Lady sequence */</p> <hr /> <div>Collection of 154 sonnets by [[William Shakespeare]] first published in 1609. The collection ends with the narrative poem &quot;A Lover's Complaint&quot;. While the first 17 sonnets of the collection are dealing with the topic of procreation and are addressed to a young man, and sonnets 18-126 are dealing with the writer's love to the young man, the last sequence (sonnets 127-154) is dedicated to the Dark Lady. Due to its internal separation of addressees, the collection highly differs from other sonnet sequences making use of traditional Petrarchan features such as the sequences of Edmund Spenser and Sir Philip Sidney.<br /> <br /> Whereas the traditional concepts of Elizabethan (love) sonnets dealt with courtly love in the manner of Petrarch, Shakespeare changed some fundamental aspects such as addressing a young man and his beauty as well as contradicting the Petrarchan sonnet tradition with the sexually oriented sonnets about the Dark Lady.<br /> The sonnet collection is considered to be the end of a long sonnet tradition, particularly regarding the English and Elizabethan love sonnet.<br /> <br /> == Structure and style ==<br /> <br /> Shakespeare makes use of Surrey's sonnet form with an abab cdcd efef gg rhyme scheme. Its metrical structure is iambic pentameter.<br /> <br /> The sonnets usually consist of two quartrains which emerge in a thematical octave, followed by a cesura in thought, a quartrain and a final rhyming couplet. Exceptions are sonnets 126 (which consists of rhyming couplets) and 145 (which makes use of 4 feet in one line instead of 5). The couplet is often set against the previous thoughts or else it is used for emphasis - it serves as a new form bringing reversal, new ideas or a conclusion.<br /> <br /> Though the sonnet collection seems to follow a certain chronology of sonnets, on closer consideration it is obvious that there are some irregularities. Thus, sonnets 76-86 deal with the poet's rival concerning the Fair Lord's love, but apparently sonnet 77 and sonnet 81 seem to be out of place. So, sonnet 81 offers itself to be a thematic and linguistic counterpart to sonnet 32 which itself functions as a thematically and linguistically foreign matter in its series of sonnets 29-35. According to that it is doubtful that Shakespeare's sonnets were written in the more or less precise order they appear in the collection.<br /> <br /> Shakespeare highly uses metaphors, symbols and conceits, and besides symbols of nature and love makes use of vocabulary of law, finances, medicine and so on.<br /> <br /> == Sonnets 1-126: Fair Lord sequence ==<br /> <br /> Sonnets 1-126 are addressed to an unnamed young man, referred to as “Fair Lord”. Here the poet expresses his love and admiration for the Fair Lord, praising his beauty, while later on having an affair with the Dark Lady.<br /> <br /> In the sonnets, the Fair Lord stands for an idealised platonic love. It differs from the Petrarchan ideal since the poet addresses a young man instead of a traditional inapproachable Sonnet Lady. The Fair Lord is praised for his beauty, which was usually considered to be a female feature. Scholars tend to ascribe the poet's admiration towards a man as a hint to Shakespeare's supposed homosexuality. Indeed, the admiration could also refer to Neo-Platonic ideals, in which real love without sexual lust (as chastity is one of the ideals of the Petrarchan Sonnet Lady) is possible between men only. This ideal however is highly platonic.<br /> <br /> Furthermore, the Fair Lord contradicts the Petrarchan ideal by being depicted as a human being. Though he is praised for his beauty, he is not wholly idealised by being criticised for being selfish and doing hurtful things to the poet (sonnet 94) such as having another friend – the Rival Poet which appears in sonnets 78-86.<br /> <br /> Sonnets 1-17 build a sequence called “procreation sonnets”. A change in tone is given with sonnet 18, which moves expressed urge to marry to the announcement that the poet's Fair Lord will be immortalised in his verses. It is clear move to romantic intimacy, which continues in the following sonnets that depict the ups and downs of the relationship between the poet and the Fair Lord.<br /> <br /> === Sonnets 1-17: Procreation sonnets ===<br /> <br /> The sequence of “procreation sonnets” begins with the first sonnet and ends with sonnet 17. They address the Fair Lord and try to persuade him to marry and start a family in order to save his beauty with an heir.<br /> <br /> Here, the sonnets are dominated by imagery of the world of finances and law, which ascribed the assumption that Shakespeare wrote the first sonnets on commission for a young aristocrat, whose family wanted him to marry. Aspirants for the position of the friend were Henry Wriothesley, Earl of Southampton (to whom Shakespeare's Epics are dedicated) and William Herbert, Earl of Pembroke (to whom the folio edition is dedicated). Both men were young when Shakespeare wrote the sonnets, and both could not decide to marry for a long time, so that they possibly required the admonitions of the procreation sonnets.<br /> <br /> The sonnets are less poetical, what nonetheless vanishes with time when the friend is praised more by imagery of nature, which was typical for love poetry. The change find its peak with sonnet 18 and a total change in tone, going on with romantic intimacy.<br /> <br /> == Sonnets 127-154: Dark Lady sequence ==<br /> <br /> The Dark Lady sonnets begin with sonnet 127 and end with the last one, sonnet 154. The topics of desire and physical attraction build the centre of the sonnets. Hence, cardinal lust serves as an antithesis to the platonic love the poet illustrated in the previous 126 poems and marks once again the separation Shakespeare's from traditional sonnet concepts.<br /> <br /> The style of the sonnets is highly Anti-Petrarchan, since the admired Sonnet Lady here does not stand for chastity, virtue, elusiveness and is even by her looks (blond hair, blue eyes, pure skin) upheaved to a divine, angel-like creature. Instead, the Dark Lady is depicted differently in behaviour and appearance:<br /> <br /> ''My mistress' eyes are nothing like the sun;<br /> <br /> Coral is far more red than her lips' red;<br /> <br /> If snow be white, why then her breasts are dun;<br /> <br /> If hairs be wires, black wires grow on her head.<br /> <br /> I have seen roses damask'd, red and white,<br /> <br /> But no such roses see I in her cheeks;<br /> <br /> And in some perfumes is there more delight<br /> <br /> Than in the breath that from my mistress reeks.<br /> <br /> I love to hear her speak, yet well I know<br /> <br /> That music hath a far more pleasing sound;<br /> <br /> I grant I never saw a goddess go;<br /> <br /> My mistress, when she walks, treads on the ground:<br /> <br /> And yet, by heaven, I think my love as rare<br /> <br /> As any she belied with false compare.''<br /> <br /> This sonnet is an example for a contre-blazon: Shakespeare mocks the traditional Petrarchan conceits (for an example according to Petrarch's concept see Spenser's sonnet 64), which idealise the Sonnet Lady and compare each of her body parts to beauties of nature. These typical idealisations are negated here – the Dark Lady is no goddess at all. The couplet makes clear that the poet does not need any false or exaggerated comparisons to distore his beloved's attractions since he is in love with a real woman.<br /> <br /> With the contruction of the &quot;unusual&quot; Sonnet Lady in contrast to Petrarchan concepts, Shakespeare was able to bring forwards topics of sexual dependence, subjectivity and blindness of the lover, as well as the inner conflict between desire and reason.<br /> <br /> == Themes and motifs ==</div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=Shakespeare%27s_sonnets&diff=8656 2012-12-12T13:03:29Z

<p>MGuttek: /* Sonnets 127-154: Dark Lady sequence */</p> <hr /> <div>Collection of 154 sonnets by [[William Shakespeare]] first published in 1609. The collection ends with the narrative poem &quot;A Lover's Complaint&quot;. While the first 17 sonnets of the collection are dealing with the topic of procreation and are addressed to a young man, and sonnets 18-126 are dealing with the writer's love to the young man, the last sequence (sonnets 127-154) is dedicated to the Dark Lady. Due to its internal separation of addressees, the collection highly differs from other sonnet sequences making use of traditional Petrarchan features such as the sequences of Edmund Spenser and Sir Philip Sidney.<br /> <br /> Whereas the traditional concepts of Elizabethan (love) sonnets dealt with courtly love in the manner of Petrarch, Shakespeare changed some fundamental aspects such as addressing a young man and his beauty as well as contradicting the Petrarchan sonnet tradition with the sexually oriented sonnets about the Dark Lady.<br /> The sonnet collection is considered to be the end of a long sonnet tradition, particularly regarding the English and Elizabethan love sonnet.<br /> <br /> == Structure and style ==<br /> <br /> Shakespeare makes use of Surrey's sonnet form with an abab cdcd efef gg rhyme scheme. Its metrical structure is iambic pentameter.<br /> <br /> The sonnets usually consist of two quartrains which emerge in a thematical octave, followed by a cesura in thought, a quartrain and a final rhyming couplet. Exceptions are sonnets 126 (which consists of rhyming couplets) and 145 (which makes use of 4 feet in one line instead of 5). The couplet is often set against the previous thoughts or else it is used for emphasis - it serves as a new form bringing reversal, new ideas or a conclusion.<br /> <br /> Though the sonnet collection seems to follow a certain chronology of sonnets, on closer consideration it is obvious that there are some irregularities. Thus, sonnets 76-86 deal with the poet's rival concerning the Fair Lord's love, but apparently sonnet 77 and sonnet 81 seem to be out of place. So, sonnet 81 offers itself to be a thematic and linguistic counterpart to sonnet 32 which itself functions as a thematically and linguistically foreign matter in its series of sonnets 29-35. According to that it is doubtful that Shakespeare's sonnets were written in the more or less precise order they appear in the collection.<br /> <br /> Shakespeare highly uses metaphors, symbols and conceits, and besides symbols of nature and love makes use of vocabulary of law, finances, medicine and so on.<br /> <br /> == Sonnets 1-126: Fair Lord sequence ==<br /> <br /> Sonnets 1-126 are addressed to an unnamed young man, referred to as “Fair Lord”. Here the poet expresses his love and admiration for the Fair Lord, praising his beauty, while later on having an affair with the Dark Lady.<br /> <br /> In the sonnets, the Fair Lord stands for an idealised platonic love. It differs from the Petrarchan ideal since the poet addresses a young man instead of a traditional inapproachable Sonnet Lady. The Fair Lord is praised for his beauty, which was usually considered to be a female feature. Scholars tend to ascribe the poet's admiration towards a man as a hint to Shakespeare's supposed homosexuality. Indeed, the admiration could also refer to Neo-Platonic ideals, in which real love without sexual lust (as chastity is one of the ideals of the Petrarchan Sonnet Lady) is possible between men only. This ideal however is highly platonic.<br /> <br /> Furthermore, the Fair Lord contradicts the Petrarchan ideal by being depicted as a human being. Though he is praised for his beauty, he is not wholly idealised by being criticised for being selfish and doing hurtful things to the poet (sonnet 94) such as having another friend – the Rival Poet which appears in sonnets 78-86.<br /> <br /> Sonnets 1-17 build a sequence called “procreation sonnets”. A change in tone is given with sonnet 18, which moves expressed urge to marry to the announcement that the poet's Fair Lord will be immortalised in his verses. It is clear move to romantic intimacy, which continues in the following sonnets that depict the ups and downs of the relationship between the poet and the Fair Lord.<br /> <br /> === Sonnets 1-17: Procreation sonnets ===<br /> <br /> The sequence of “procreation sonnets” begins with the first sonnet and ends with sonnet 17. They address the Fair Lord and try to persuade him to marry and start a family in order to save his beauty with an heir.<br /> <br /> Here, the sonnets are dominated by imagery of the world of finances and law, which ascribed the assumption that Shakespeare wrote the first sonnets on commission for a young aristocrat, whose family wanted him to marry. Aspirants for the position of the friend were Henry Wriothesley, Earl of Southampton (to whom Shakespeare's Epics are dedicated) and William Herbert, Earl of Pembroke (to whom the folio edition is dedicated). Both men were young when Shakespeare wrote the sonnets, and both could not decide to marry for a long time, so that they possibly required the admonitions of the procreation sonnets.<br /> <br /> The sonnets are less poetical, what nonetheless vanishes with time when the friend is praised more by imagery of nature, which was typical for love poetry. The change find its peak with sonnet 18 and a total change in tone, going on with romantic intimacy.<br /> <br /> == Sonnets 127-154: Dark Lady sequence ==<br /> <br /> The Dark Lady sonnets begin with sonnet 127 and end with the last one, sonnet 154. The topics of desire and physical attraction build the centre of the sonnets. Hence, cardinal lust serves as an antithesis to the platonic love the poet illustrated in the previous 126 poems and marks once again the separation Shakespeare's from traditional sonnet concepts.<br /> <br /> The style of the sonnets is highly Anti-Petrarchan, since the admired Sonnet Lady here does not stand for chastity, virtue, elusiveness and is even by her looks (blond hair, blue eyes, pure skin) upheaved to a divine, angel-like creature. Instead, the Dark Lady is depicted differently in behaviour and appearance:<br /> <br /> ''My mistress' eyes are nothing like the sun;<br /> Coral is far more red than her lips' red;<br /> If snow be white, why then her breasts are dun;<br /> If hairs be wires, black wires grow on her head.<br /> I have seen roses damask'd, red and white,<br /> But no such roses see I in her cheeks;<br /> And in some perfumes is there more delight<br /> Than in the breath that from my mistress reeks.<br /> I love to hear her speak, yet well I know<br /> That music hath a far more pleasing sound;<br /> I grant I never saw a goddess go;<br /> My mistress, when she walks, treads on the ground:<br /> And yet, by heaven, I think my love as rare<br /> As any she belied with false compare.''<br /> <br /> This sonnet is an example for a contre-blazon: Shakespeare mocks the traditional Petrarchan conceits (for an example according to Petrarch's concept see Spenser's sonnet 64), which idealise the Sonnet Lady and compare each of her body parts to beauties of nature. These typical idealisations are negated here – the Dark Lady is no goddess at all. The couplet makes clear that the poet does not need any false or exaggerated comparisons to distore his beloved's attractions since he is in love with a real woman.<br /> <br /> With the contruction of the &quot;unusual&quot; Sonnet Lady in contrast to Petrarchan concepts, Shakespeare was able to bring forwards topics of sexual dependence, subjectivity and blindness of the lover, as well as the inner conflict between desire and reason.<br /> <br /> == Themes and motifs ==</div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=Shakespeare%27s_sonnets&diff=8655 2012-12-12T13:03:16Z

<p>MGuttek: /* Sonnets 127-154: Dark Lady sequence */</p> <hr /> <div>Collection of 154 sonnets by [[William Shakespeare]] first published in 1609. The collection ends with the narrative poem &quot;A Lover's Complaint&quot;. While the first 17 sonnets of the collection are dealing with the topic of procreation and are addressed to a young man, and sonnets 18-126 are dealing with the writer's love to the young man, the last sequence (sonnets 127-154) is dedicated to the Dark Lady. Due to its internal separation of addressees, the collection highly differs from other sonnet sequences making use of traditional Petrarchan features such as the sequences of Edmund Spenser and Sir Philip Sidney.<br /> <br /> Whereas the traditional concepts of Elizabethan (love) sonnets dealt with courtly love in the manner of Petrarch, Shakespeare changed some fundamental aspects such as addressing a young man and his beauty as well as contradicting the Petrarchan sonnet tradition with the sexually oriented sonnets about the Dark Lady.<br /> The sonnet collection is considered to be the end of a long sonnet tradition, particularly regarding the English and Elizabethan love sonnet.<br /> <br /> == Structure and style ==<br /> <br /> Shakespeare makes use of Surrey's sonnet form with an abab cdcd efef gg rhyme scheme. Its metrical structure is iambic pentameter.<br /> <br /> The sonnets usually consist of two quartrains which emerge in a thematical octave, followed by a cesura in thought, a quartrain and a final rhyming couplet. Exceptions are sonnets 126 (which consists of rhyming couplets) and 145 (which makes use of 4 feet in one line instead of 5). The couplet is often set against the previous thoughts or else it is used for emphasis - it serves as a new form bringing reversal, new ideas or a conclusion.<br /> <br /> Though the sonnet collection seems to follow a certain chronology of sonnets, on closer consideration it is obvious that there are some irregularities. Thus, sonnets 76-86 deal with the poet's rival concerning the Fair Lord's love, but apparently sonnet 77 and sonnet 81 seem to be out of place. So, sonnet 81 offers itself to be a thematic and linguistic counterpart to sonnet 32 which itself functions as a thematically and linguistically foreign matter in its series of sonnets 29-35. According to that it is doubtful that Shakespeare's sonnets were written in the more or less precise order they appear in the collection.<br /> <br /> Shakespeare highly uses metaphors, symbols and conceits, and besides symbols of nature and love makes use of vocabulary of law, finances, medicine and so on.<br /> <br /> == Sonnets 1-126: Fair Lord sequence ==<br /> <br /> Sonnets 1-126 are addressed to an unnamed young man, referred to as “Fair Lord”. Here the poet expresses his love and admiration for the Fair Lord, praising his beauty, while later on having an affair with the Dark Lady.<br /> <br /> In the sonnets, the Fair Lord stands for an idealised platonic love. It differs from the Petrarchan ideal since the poet addresses a young man instead of a traditional inapproachable Sonnet Lady. The Fair Lord is praised for his beauty, which was usually considered to be a female feature. Scholars tend to ascribe the poet's admiration towards a man as a hint to Shakespeare's supposed homosexuality. Indeed, the admiration could also refer to Neo-Platonic ideals, in which real love without sexual lust (as chastity is one of the ideals of the Petrarchan Sonnet Lady) is possible between men only. This ideal however is highly platonic.<br /> <br /> Furthermore, the Fair Lord contradicts the Petrarchan ideal by being depicted as a human being. Though he is praised for his beauty, he is not wholly idealised by being criticised for being selfish and doing hurtful things to the poet (sonnet 94) such as having another friend – the Rival Poet which appears in sonnets 78-86.<br /> <br /> Sonnets 1-17 build a sequence called “procreation sonnets”. A change in tone is given with sonnet 18, which moves expressed urge to marry to the announcement that the poet's Fair Lord will be immortalised in his verses. It is clear move to romantic intimacy, which continues in the following sonnets that depict the ups and downs of the relationship between the poet and the Fair Lord.<br /> <br /> === Sonnets 1-17: Procreation sonnets ===<br /> <br /> The sequence of “procreation sonnets” begins with the first sonnet and ends with sonnet 17. They address the Fair Lord and try to persuade him to marry and start a family in order to save his beauty with an heir.<br /> <br /> Here, the sonnets are dominated by imagery of the world of finances and law, which ascribed the assumption that Shakespeare wrote the first sonnets on commission for a young aristocrat, whose family wanted him to marry. Aspirants for the position of the friend were Henry Wriothesley, Earl of Southampton (to whom Shakespeare's Epics are dedicated) and William Herbert, Earl of Pembroke (to whom the folio edition is dedicated). Both men were young when Shakespeare wrote the sonnets, and both could not decide to marry for a long time, so that they possibly required the admonitions of the procreation sonnets.<br /> <br /> The sonnets are less poetical, what nonetheless vanishes with time when the friend is praised more by imagery of nature, which was typical for love poetry. The change find its peak with sonnet 18 and a total change in tone, going on with romantic intimacy.<br /> <br /> == Sonnets 127-154: Dark Lady sequence ==<br /> <br /> The Dark Lady sonnets begin with sonnet 127 and end with the last one, sonnet 154. The topics of desire and physical attraction build the centre of the sonnets. Hence, cardinal lust serves as an antithesis to the platonic love the poet illustrated in the previous 126 poems and marks once again the separation Shakespeare's from traditional sonnet concepts.<br /> <br /> The style of the sonnets is highly Anti-Petrarchan, since the admired Sonnet Lady here does not stand for chastity, virtue, elusiveness and is even by her looks (blond hair, blue eyes, pure skin) upheaved to a divine, angel-like creature. Instead, the Dark Lady is depicted differently in behaviour and appearance:<br /> <br /> ''My mistress' eyes are nothing like the sun;<br /> Coral is far more red than her lips' red;<br /> If snow be white, why then her breasts are dun;<br /> If hairs be wires, black wires grow on her head.<br /> I have seen roses damask'd, red and white,<br /> But no such roses see I in her cheeks;<br /> And in some perfumes is there more delight<br /> Than in the breath that from my mistress reeks.<br /> I love to hear her speak, yet well I know<br /> That music hath a far more pleasing sound;<br /> I grant I never saw a goddess go;<br /> My mistress, when she walks, treads on the ground:<br /> And yet, by heaven, I think my love as rare<br /> As any she belied with false compare.''<br /> <br /> This sonnet is an example for a contre-blazon: Shakespeare mocks the traditional Petrarchan conceits (for an example according to Petrarch's concept see Spenser's sonnet 64), which idealise the Sonnet Lady and compare each of her body parts to beauties of nature. These typical idealisations are negated here – the Dark Lady is no goddess at all. The couplet makes clear that the poet does not need any false or exaggerated comparisons to distore his beloved's attractions since he is in love with a real woman.<br /> <br /> With the contruction of the &quot;unusual&quot; Sonnet Lady in contrast to Petrarchan concepts, Shakespeare was able to bring forwards topics of sexual dependence, subjectivity and blindness of the lover, as well as the inner conflict between desire and reason.[[Suerbaum, p. 325]]<br /> <br /> == Themes and motifs ==</div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=Shakespeare%27s_sonnets&diff=8654 2012-12-12T10:13:52Z

<p>MGuttek: /* Sonnets 1-126: Fair Lord sequence */</p> <hr /> <div>Collection of 154 sonnets by [[William Shakespeare]] first published in 1609. The collection ends with the narrative poem &quot;A Lover's Complaint&quot;. While the first 17 sonnets of the collection are dealing with the topic of procreation and are addressed to a young man, and sonnets 18-126 are dealing with the writer's love to the young man, the last sequence (sonnets 127-154) is dedicated to the Dark Lady. Due to its internal separation of addressees, the collection highly differs from other sonnet sequences making use of traditional Petrarchan features such as the sequences of Edmund Spenser and Sir Philip Sidney.<br /> <br /> Whereas the traditional concepts of Elizabethan (love) sonnets dealt with courtly love in the manner of Petrarch, Shakespeare changed some fundamental aspects such as addressing a young man and his beauty as well as contradicting the Petrarchan sonnet tradition with the sexually oriented sonnets about the Dark Lady.<br /> The sonnet collection is considered to be the end of a long sonnet tradition, particularly regarding the English and Elizabethan love sonnet.<br /> <br /> == Structure and style ==<br /> <br /> Shakespeare makes use of Surrey's sonnet form with an abab cdcd efef gg rhyme scheme. Its metrical structure is iambic pentameter.<br /> <br /> The sonnets usually consist of two quartrains which emerge in a thematical octave, followed by a cesura in thought, a quartrain and a final rhyming couplet. Exceptions are sonnets 126 (which consists of rhyming couplets) and 145 (which makes use of 4 feet in one line instead of 5). The couplet is often set against the previous thoughts or else it is used for emphasis - it serves as a new form bringing reversal, new ideas or a conclusion.<br /> <br /> Though the sonnet collection seems to follow a certain chronology of sonnets, on closer consideration it is obvious that there are some irregularities. Thus, sonnets 76-86 deal with the poet's rival concerning the Fair Lord's love, but apparently sonnet 77 and sonnet 81 seem to be out of place. So, sonnet 81 offers itself to be a thematic and linguistic counterpart to sonnet 32 which itself functions as a thematically and linguistically foreign matter in its series of sonnets 29-35. According to that it is doubtful that Shakespeare's sonnets were written in the more or less precise order they appear in the collection.<br /> <br /> Shakespeare highly uses metaphors, symbols and conceits, and besides symbols of nature and love makes use of vocabulary of law, finances, medicine and so on.<br /> <br /> == Sonnets 1-126: Fair Lord sequence ==<br /> <br /> Sonnets 1-126 are addressed to an unnamed young man, referred to as “Fair Lord”. Here the poet expresses his love and admiration for the Fair Lord, praising his beauty, while later on having an affair with the Dark Lady.<br /> <br /> In the sonnets, the Fair Lord stands for an idealised platonic love. It differs from the Petrarchan ideal since the poet addresses a young man instead of a traditional inapproachable Sonnet Lady. The Fair Lord is praised for his beauty, which was usually considered to be a female feature. Scholars tend to ascribe the poet's admiration towards a man as a hint to Shakespeare's supposed homosexuality. Indeed, the admiration could also refer to Neo-Platonic ideals, in which real love without sexual lust (as chastity is one of the ideals of the Petrarchan Sonnet Lady) is possible between men only. This ideal however is highly platonic.<br /> <br /> Furthermore, the Fair Lord contradicts the Petrarchan ideal by being depicted as a human being. Though he is praised for his beauty, he is not wholly idealised by being criticised for being selfish and doing hurtful things to the poet (sonnet 94) such as having another friend – the Rival Poet which appears in sonnets 78-86.<br /> <br /> Sonnets 1-17 build a sequence called “procreation sonnets”. A change in tone is given with sonnet 18, which moves expressed urge to marry to the announcement that the poet's Fair Lord will be immortalised in his verses. It is clear move to romantic intimacy, which continues in the following sonnets that depict the ups and downs of the relationship between the poet and the Fair Lord.<br /> <br /> === Sonnets 1-17: Procreation sonnets ===<br /> <br /> The sequence of “procreation sonnets” begins with the first sonnet and ends with sonnet 17. They address the Fair Lord and try to persuade him to marry and start a family in order to save his beauty with an heir.<br /> <br /> Here, the sonnets are dominated by imagery of the world of finances and law, which ascribed the assumption that Shakespeare wrote the first sonnets on commission for a young aristocrat, whose family wanted him to marry. Aspirants for the position of the friend were Henry Wriothesley, Earl of Southampton (to whom Shakespeare's Epics are dedicated) and William Herbert, Earl of Pembroke (to whom the folio edition is dedicated). Both men were young when Shakespeare wrote the sonnets, and both could not decide to marry for a long time, so that they possibly required the admonitions of the procreation sonnets.<br /> <br /> The sonnets are less poetical, what nonetheless vanishes with time when the friend is praised more by imagery of nature, which was typical for love poetry. The change find its peak with sonnet 18 and a total change in tone, going on with romantic intimacy.<br /> <br /> == Sonnets 127-154: Dark Lady sequence ==<br /> <br /> == Themes and motifs ==</div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=Shakespeare%27s_sonnets&diff=8653 2012-12-12T10:02:01Z

<p>MGuttek: </p> <hr /> <div>Collection of 154 sonnets by [[William Shakespeare]] first published in 1609. The collection ends with the narrative poem &quot;A Lover's Complaint&quot;. While the first 17 sonnets of the collection are dealing with the topic of procreation and are addressed to a young man, and sonnets 18-126 are dealing with the writer's love to the young man, the last sequence (sonnets 127-154) is dedicated to the Dark Lady. Due to its internal separation of addressees, the collection highly differs from other sonnet sequences making use of traditional Petrarchan features such as the sequences of Edmund Spenser and Sir Philip Sidney.<br /> <br /> Whereas the traditional concepts of Elizabethan (love) sonnets dealt with courtly love in the manner of Petrarch, Shakespeare changed some fundamental aspects such as addressing a young man and his beauty as well as contradicting the Petrarchan sonnet tradition with the sexually oriented sonnets about the Dark Lady.<br /> The sonnet collection is considered to be the end of a long sonnet tradition, particularly regarding the English and Elizabethan love sonnet.<br /> <br /> == Structure and style ==<br /> <br /> Shakespeare makes use of Surrey's sonnet form with an abab cdcd efef gg rhyme scheme. Its metrical structure is iambic pentameter.<br /> <br /> The sonnets usually consist of two quartrains which emerge in a thematical octave, followed by a cesura in thought, a quartrain and a final rhyming couplet. Exceptions are sonnets 126 (which consists of rhyming couplets) and 145 (which makes use of 4 feet in one line instead of 5). The couplet is often set against the previous thoughts or else it is used for emphasis - it serves as a new form bringing reversal, new ideas or a conclusion.<br /> <br /> Though the sonnet collection seems to follow a certain chronology of sonnets, on closer consideration it is obvious that there are some irregularities. Thus, sonnets 76-86 deal with the poet's rival concerning the Fair Lord's love, but apparently sonnet 77 and sonnet 81 seem to be out of place. So, sonnet 81 offers itself to be a thematic and linguistic counterpart to sonnet 32 which itself functions as a thematically and linguistically foreign matter in its series of sonnets 29-35. According to that it is doubtful that Shakespeare's sonnets were written in the more or less precise order they appear in the collection.<br /> <br /> Shakespeare highly uses metaphors, symbols and conceits, and besides symbols of nature and love makes use of vocabulary of law, finances, medicine and so on.<br /> <br /> == Sonnets 1-126: Fair Lord sequence ==<br /> <br /> Sonnets 1-126 are addressed to an unnamed young man, referred to as “Fair Lord”. Here the poet expresses his love and admiration for the Fair Lord, praising his beauty, while later on having an affair with the Dark Lady.<br /> <br /> In the sonnets, the Fair Lord stands for an idealised platonic love. It differs from the Petrarchan ideal since the poet addresses a young man instead of a traditional inapproachable Sonnet Lady. The Fair Lord is praised for his beauty, which was usually considered to be a female feature. Scholars tend to ascribe the poet's admiration towards a man as a hint to Shakespeare's supposed homosexuality. Indeed, the admiration could also refer to Neo-Platonic ideals, in which real love without sexual lust (as chastity is one of the ideals of the Petrarchan Sonnet Lady) is possible between men only. This ideal however is highly platonic.<br /> <br /> Furthermore, the Fair Lord contradicts the Petrarchan ideal by being depicted as a human being. Though he is praised for his beauty, he is not wholly idealised by being criticised for being selfish and doing hurtful things to the poet (sonnet 94) such as having another friend – the Rival Poet which appears in sonnets 78-86.<br /> <br /> Sonnets 1-17 build a sequence called “procreation sonnets”. A change of tone is given with sonnet 18, which moves expressed urge to marry to the announcement that the poet's Fair Lord will be immortalised in his verses. It is clear move to romantic intimacy, which continues in the following sonnets that depict the ups and downs of the relationship between the poet and the Fair Lord.<br /> <br /> === Sonnets 1-17: Procreation sonnets ===<br /> <br /> == Sonnets 127-154: Dark Lady sequence ==<br /> <br /> == Themes and motifs ==</div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=Shakespeare%27s_sonnets&diff=8652 2012-12-12T09:53:17Z

<p>MGuttek: /* Sonnets 1-126: Fair Lord sequence */</p> <hr /> <div>Collection of 154 sonnets by [[William Shakespeare]] first published in 1609. The collection ends with the narrative poem &quot;A Lover's Complaint&quot;. While the first 17 sonnets of the collection are dealing with the topic of procreation and are addressed to a young man, and sonnets 18-126 are dealing with the writer's love to the young man, the last sequence (sonnets 127-154) is dedicated to the Dark Lady.<br /> <br /> Whereas the traditional concepts of Elizabethan (love) sonnets dealt with courtly love in the manner of Petrarch, Shakespeare changed some fundamental aspects such as addressing a young man and his beauty as well as contradicting the Petrarchan sonnet tradition with the sexually oriented sonnets about the Dark Lady.<br /> The sonnet collection is considered to be the end of a long sonnet tradition, particularly regarding the English and Elizabethan love sonnet.<br /> <br /> == Structure and style ==<br /> <br /> Shakespeare makes use of Surrey's sonnet form with an abab cdcd efef gg rhyme scheme. Its metrical structure is iambic pentameter.<br /> <br /> The sonnets usually consist of two quartrains which emerge in a thematical octave, followed by a cesura in thought, a quartrain and a final rhyming couplet. Exceptions are sonnets 126 (which consists of rhyming couplets) and 145 (which makes use of 4 feet in one line instead of 5). The couplet is often set against the previous thoughts or else it is used for emphasis - it serves as a new form bringing reversal, new ideas or a conclusion.<br /> <br /> Though the sonnet collection seems to follow a certain chronology of sonnets, on closer consideration it is obvious that there are some irregularities. Thus, sonnets 76-86 deal with the poet's rival concerning the Fair Lord's love, but apparently sonnet 77 and sonnet 81 seem to be out of place. So, sonnet 81 offers itself to be a thematic and linguistic counterpart to sonnet 32 which itself functions as a thematically and linguistically foreign matter in its series of sonnets 29-35. According to that it is doubtful that Shakespeare's sonnets were written in the more or less precise order they appear in the collection.<br /> <br /> Shakespeare highly uses metaphors, symbols and conceits, and besides symbols of nature and love makes use of vocabulary of law, finances, medicine and so on.<br /> <br /> == Sonnets 1-126: Fair Lord sequence ==<br /> <br /> Sonnets 1-126 are addressed to an unnamed young man, referred to as “Fair Lord”. Here the poet expresses his love and admiration for the Fair Lord, praising his beauty, while later on having an affair with the Dark Lady.<br /> <br /> In the sonnets, the Fair Lord stands for an idealised platonic love. It differs from the Petrarchan ideal since the poet addresses a young man instead of a traditional inapproachable Sonnet Lady. The Fair Lord is praised for his beauty, which was usually considered to be a female feature. Scholars tend to ascribe the poet's admiration towards a man as a hint to Shakespeare's supposed homosexuality. Indeed, the admiration could also refer to Neo-Platonic ideals, in which real love without sexual lust (as chastity is one of the ideals of the Petrarchan Sonnet Lady) is possible between men only. This ideal however is highly platonic.<br /> <br /> Furthermore, the Fair Lord contradicts the Petrarchan ideal by being depicted as a human being. Though he is praised for his beauty, he is not wholly idealised by being criticised for being selfish and doing hurtful things to the poet (sonnet 94) such as having another friend – the Rival Poet which appears in sonnets 78-86.<br /> <br /> Sonnets 1-17 build a sequence called “procreation sonnets”. A change of tone is given with sonnet 18, which moves expressed urge to marry to the announcement that the poet's Fair Lord will be immortalised in his verses. It is clear move to romantic intimacy, which continues in the following sonnets that depict the ups and downs of the relationship between the poet and the Fair Lord.<br /> <br /> === Sonnets 1-17: Procreation sonnets ===<br /> <br /> == Sonnets 127-154: Dark Lady sequence ==<br /> <br /> == Themes and motifs ==</div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=Shakespeare%27s_sonnets&diff=8649 2012-12-10T16:21:51Z

<p>MGuttek: </p> <hr /> <div>Collection of 154 sonnets by [[William Shakespeare]] first published in 1609. The collection ends with the narrative poem &quot;A Lover's Complaint&quot;. While the first 17 sonnets of the collection are dealing with the topic of procreation and are addressed to a young man, and sonnets 18-126 are dealing with the writer's love to the young man, the last sequence (sonnets 127-154) is dedicated to the Dark Lady.<br /> <br /> Whereas the traditional concepts of Elizabethan (love) sonnets dealt with courtly love in the manner of Petrarch, Shakespeare changed some fundamental aspects such as addressing a young man and his beauty as well as contradicting the Petrarchan sonnet tradition with the sexually oriented sonnets about the Dark Lady.<br /> The sonnet collection is considered to be the end of a long sonnet tradition, particularly regarding the English and Elizabethan love sonnet.<br /> <br /> == Structure and style ==<br /> <br /> Shakespeare makes use of Surrey's sonnet form with an abab cdcd efef gg rhyme scheme. Its metrical structure is iambic pentameter.<br /> <br /> The sonnets usually consist of two quartrains which emerge in a thematical octave, followed by a cesura in thought, a quartrain and a final rhyming couplet. Exceptions are sonnets 126 (which consists of rhyming couplets) and 145 (which makes use of 4 feet in one line instead of 5). The couplet is often set against the previous thoughts or else it is used for emphasis - it serves as a new form bringing reversal, new ideas or a conclusion.<br /> <br /> Though the sonnet collection seems to follow a certain chronology of sonnets, on closer consideration it is obvious that there are some irregularities. Thus, sonnets 76-86 deal with the poet's rival concerning the Fair Lord's love, but apparently sonnet 77 and sonnet 81 seem to be out of place. So, sonnet 81 offers itself to be a thematic and linguistic counterpart to sonnet 32 which itself functions as a thematically and linguistically foreign matter in its series of sonnets 29-35. According to that it is doubtful that Shakespeare's sonnets were written in the more or less precise order they appear in the collection.<br /> <br /> Shakespeare highly uses metaphors, symbols and conceits, and besides symbols of nature and love makes use of vocabulary of law, finances, medicine and so on.<br /> <br /> == Sonnets 1-126: Fair Lord sequence ==<br /> <br /> === Sonnets 1-17: Procreation sonnets ===<br /> <br /> == Sonnets 127-154: Dark Lady sequence ==<br /> <br /> == Themes and motifs ==</div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=Shakespeare%27s_sonnets&diff=8648 2012-12-10T16:13:59Z

<p>MGuttek: /* Structure and style */</p> <hr /> <div>Collection of 154 sonnets by [[William Shakespeare]] first published in 1609. The collection ends with the narrative poem &quot;A Lover's Complaint&quot;. While the first 17 sonnets of the collection are dealing with the topic of procreation and are addressed to a young man, and sonnets 18-126 are dealing with the writer's love to the young man, the last sequence (sonnets 127-154) is dedicated to the Dark Lady.<br /> <br /> Whereas the traditional concepts of Elizabethan (love) sonnets dealt with courtly love, Shakespeare changed some fundamental aspects such as addressing a young man and his beauty as well as contradicting the Petrarcan sonnet tradition with the sexually oriented sonnets about the Dark Lady.<br /> The sonnet collection is considered to be the end of a long sonnet tradition, particularly regarding the English and Elizabethan love sonnet.<br /> <br /> == Structure and style ==<br /> <br /> Shakespeare makes use of Surrey's sonnet form with an abab cdcd efef gg rhyme scheme. Its metrical structure is iambic pentameter.<br /> <br /> The sonnets usually consist of two quartrains which emerge in a thematical octave, followed by a cesura in thought, a quartrain and a final rhyming couplet. Exceptions are sonnets 126 (which consists of rhyming couplets) and 145 (which makes use of 4 feet in one line instead of 5). The couplet is often set against the previous thoughts or else it is used for emphasis - it serves as a new form bringing reversal, new ideas or a conclusion.<br /> <br /> Though the sonnet collection seems to follow a certain chronology of sonnets, on closer consideration it is obvious that there are some irregularities. Thus, sonnets 76-86 deal with the poet's rival concerning the Fair Lord's love, but apparently sonnet 77 and sonnet 81 seem to be out of place. So, sonnet 81 offers itself to be a thematic and linguistic counterpart to sonnet 32 which itself functions as a thematically and linguistically foreign matter in its series of sonnets 29-35. According to that it is doubtful that Shakespeare's sonnets were written in the more or less precise order they appear in the collection.<br /> <br /> Shakespeare highly uses metaphors, symbols and conceits, and besides symbols of nature and love makes use of vocabulary of law, finances, medicine and so on.<br /> <br /> == Sonnets 1-126: Fair Lord sequence ==<br /> <br /> === Sonnets 1-17: Procreation sonnets ===<br /> <br /> == Sonnets 127-154: Dark Lady sequence ==<br /> <br /> == Themes and motifs ==</div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=Shakespeare%27s_sonnets&diff=8645 2012-12-10T16:02:18Z

<p>MGuttek: /* Structure and style */</p> <hr /> <div>&quot;Shakespeare's sonnets&quot; are a collection of 154 sonnets by William Shakespeare first published in 1609. The collection ends with the narrative poem &quot;A Lover's Complaint&quot;. While the first 17 sonnets of the collection are dealing with the topic of procreation and are addressed to a young man, as well as sonnets 18-126 dealing with the writer's love to the young man, the last sequence (sonnets 127-154) is dedicated to the Dark Lady.<br /> Whereas the traditional concepts of Elizabethan (love) sonnets dealt with courtly love, Shakespeare changed some fundamental aspects such as addressing a young man and his beauty as well as contradicting the Petrarcan sonnet tradition with the sexually oriented sonnets about the Dark Lady.<br /> The sonnet collection is considered to be the end of a long sonnet tradition, particularly regarding the English and Elizabethan love sonnet.<br /> <br /> == Structure and style ==<br /> <br /> Shakespeare makes use of Surrey's sonnet form with an abab cdcd efef gg rhyme scheme. Its metrical structure is iambic pentameter.<br /> <br /> The sonnets usually consist of two quartrains which emerge in a thematical octave, followed by a cesura in thought, a quartrain and a final rhyming couplet. Exceptions are sonnets 126 (which consists of rhyming couplets) and 145 (which makes use of 4 feet in one line instead of 5). The couplet is often set against the previous thoughts or else it is used for emphasis - it serves as a new form bringing reversal, new ideas or a conclusion. <br /> <br /> Shakespeare highly uses metaphors, symbols and conceits, and besides symbols of nature and love makes use of vocabulary of law, finances, medicine and so on.<br /> <br /> == Sonnets 1-126: Fair Lord sequence ==<br /> <br /> === Sonnets 1-17: Procreation sonnets ===<br /> <br /> == Sonnets 127-154: Dark Lady sequence ==<br /> <br /> == Themes and motifs ==</div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=Shakespeare%27s_sonnets&diff=8644 2012-12-10T15:58:53Z

<p>MGuttek: /* Structure and style */</p> <hr /> <div>&quot;Shakespeare's sonnets&quot; are a collection of 154 sonnets by William Shakespeare first published in 1609. The collection ends with the narrative poem &quot;A Lover's Complaint&quot;. While the first 17 sonnets of the collection are dealing with the topic of procreation and are addressed to a young man, as well as sonnets 18-126 dealing with the writer's love to the young man, the last sequence (sonnets 127-154) is dedicated to the Dark Lady.<br /> Whereas the traditional concepts of Elizabethan (love) sonnets dealt with courtly love, Shakespeare changed some fundamental aspects such as addressing a young man and his beauty as well as contradicting the Petrarcan sonnet tradition with the sexually oriented sonnets about the Dark Lady.<br /> The sonnet collection is considered to be the end of a long sonnet tradition, particularly regarding the English and Elizabethan love sonnet.<br /> <br /> == Structure and style ==<br /> <br /> Shakespeare makes use of Surrey's sonnet form with an abab cdcd efef gg rhyme scheme. Its metrical structure is iambic pentameter.<br /> <br /> The sonnets usually consist of two quartrains which emerge in a thematical octave, followed by a cesura in thought, a quartrain and a final rhyming couplet. Exceptions are sonnets 126 (which consists of rhyming couplets) and 145 (which makes use of 4 feet in one line). The couplet is often set against the previous thoughts or else it is used for emphasis - it serves as a new form bringing reversal, new ideas or a conclusion. <br /> <br /> Shakespeare highly uses metaphors, symbols and conceits, and besides symbols of nature and love makes use of vocabulary of law, finances, medicine and so on.<br /> <br /> == Sonnets 1-126: Fair Lord sequence ==<br /> <br /> === Sonnets 1-17: Procreation sonnets ===<br /> <br /> == Sonnets 127-154: Dark Lady sequence ==<br /> <br /> == Themes and motifs ==</div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=Shakespeare%27s_sonnets&diff=8643 2012-12-10T15:39:54Z

<p>MGuttek: </p> <hr /> <div>&quot;Shakespeare's sonnets&quot; are a collection of 154 sonnets by William Shakespeare first published in 1609. The collection ends with the narrative poem &quot;A Lover's Complaint&quot;. While the first 17 sonnets of the collection are dealing with the topic of procreation and are addressed to a young man, as well as sonnets 18-126 dealing with the writer's love to the young man, the last sequence (sonnets 127-154) is dedicated to the Dark Lady.<br /> Whereas the traditional concepts of Elizabethan (love) sonnets dealt with courtly love, Shakespeare changed some fundamental aspects such as addressing a young man and his beauty as well as contradicting the Petrarcan sonnet tradition with the sexually oriented sonnets about the Dark Lady.<br /> The sonnet collection is considered to be the end of a long sonnet tradition, particularly regarding the English and Elizabethan love sonnet.<br /> <br /> == Structure and style ==<br /> <br /> == Sonnets 1-126: Fair Lord sequence ==<br /> <br /> === Sonnets 1-17: Procreation sonnets ===<br /> <br /> == Sonnets 127-154: Dark Lady sequence ==<br /> <br /> == Themes and motifs ==</div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=Shakespeare%27s_sonnets&diff=8642 2012-12-10T15:37:48Z

<p>MGuttek: </p> <hr /> <div>&quot;Shakespeare's sonnets&quot; are a collection of 154 sonnets by William Shakespeare first published in 1609. The collection ends with the narrative poem &quot;A Lover's Complaint&quot;.<br /> While the first 17 sonnets of the collection are dealing with the topic of procreation and are addressed to a young man (Fair Lord), as well as sonnets 18-126 dealing with the writer's love to the young man, the last sequence (sonnets 127-154) is dedicated to the Dark Lady.<br /> <br /> == Structure and style ==<br /> <br /> == Sonnets 1-126: Fair Lord sequence ==<br /> <br /> === Sonnets 1-17: Procreation sonnets ===<br /> <br /> == Sonnets 127-154: Dark Lady sequence ==<br /> <br /> == Themes and motifs ==</div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=Shakespeare%27s_sonnets&diff=8641 2012-12-10T11:13:10Z

<p>MGuttek: </p> <hr /> <div>&quot;Shakespeare's sonnets&quot; are a collection of 154 sonnets by William Shakespeare first published in 1609. The collection ends with the narrative poem &quot;A Lover's Complaint&quot;.<br /> While the first 17 sonnets of the collection are dealing with the topic of procreation and are addressed to a young man, as well as sonnets 18-126 dealing with the writer's love to the young man, the last sequence (sonnets 127-154) is dedicated to the Dark Lady.<br /> <br /> == Structure and style ==<br /> <br /> == Sonnets 1-126: Fair Youth sequence ==<br /> <br /> === Sonnets 1-17: Procreation sonnets ===<br /> <br /> == Sonnets 127-154: Dark Lady sequence ==<br /> <br /> == Themes and motifs ==</div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=Shakespeare%27s_sonnets&diff=8640 2012-12-10T11:12:39Z

<p>MGuttek: </p> <hr /> <div>&quot;Shakespeare's sonnets&quot; are a collection of 154 sonnets by William Shakespeare first published in 1609. The collection ends with the narrative poem &quot;A Lover's Complaint&quot;.<br /> While the first 17 sonnets of the collection are dealing with the topic of procreation and are addressed to a young man, as well as sonnets 18-126 dealing with the writer's love to the young man, the last sequence (sonnets 127-154) is dedicated to the Dark Lady.<br /> <br /> == # Structure and style ==<br /> <br /> == # Sonnets 1-17: Procreation sonnets ==<br /> <br /> == # Sonnets 1-126: Fair Youth sequence ==<br /> <br /> === ## Sonnets 1-17: Procreation sonnets ===<br /> <br /> == # Sonnets 127-154: Dark Lady sequence ==<br /> <br /> == # Themes and motifs ==</div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=Shakespeare%27s_sonnets&diff=8639 2012-12-10T11:10:17Z

<p>MGuttek: /* Sonnets 1-17: procreation sonnets */</p> <hr /> <div>&quot;Shakespeare's sonnets&quot; are a collection of 154 sonnets by William Shakespeare first published in 1609. The collection ends with the narrative poem &quot;A Lover's Complaint&quot;.<br /> While the first 17 sonnets of the collection are dealing with the topic of procreation and are addressed to a young man, as well as sonnets 18-126 dealing with the writer's love to the young man, the last sequence (sonnets 127-154) is dedicated to the Dark Lady.<br /> <br /> == Structure and style ==<br /> <br /> == Sonnets 1-17: Procreation sonnets ==<br /> <br /> == Sonnets 1-126: Fair Youth sequence ==<br /> <br /> == Sonnets 127-154: Dark Lady sequence ==<br /> <br /> == Themes and motifs ==</div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=Shakespeare%27s_sonnets&diff=8638 2012-12-10T11:10:05Z

<p>MGuttek: /* procreation */</p> <hr /> <div>&quot;Shakespeare's sonnets&quot; are a collection of 154 sonnets by William Shakespeare first published in 1609. The collection ends with the narrative poem &quot;A Lover's Complaint&quot;.<br /> While the first 17 sonnets of the collection are dealing with the topic of procreation and are addressed to a young man, as well as sonnets 18-126 dealing with the writer's love to the young man, the last sequence (sonnets 127-154) is dedicated to the Dark Lady.<br /> <br /> == Structure and style ==<br /> <br /> == Sonnets 1-17: procreation sonnets ==<br /> <br /> == Sonnets 1-126: Fair Youth sequence ==<br /> <br /> == Sonnets 127-154: Dark Lady sequence ==<br /> <br /> == Themes and motifs ==</div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=Shakespeare%27s_sonnets&diff=8637 2012-12-10T11:09:47Z

<p>MGuttek: /* Sonnets 1-126: Fair Youth sequence */</p> <hr /> <div>&quot;Shakespeare's sonnets&quot; are a collection of 154 sonnets by William Shakespeare first published in 1609. The collection ends with the narrative poem &quot;A Lover's Complaint&quot;.<br /> While the first 17 sonnets of the collection are dealing with the topic of procreation and are addressed to a young man, as well as sonnets 18-126 dealing with the writer's love to the young man, the last sequence (sonnets 127-154) is dedicated to the Dark Lady.<br /> <br /> == Structure and style ==<br /> <br /> == Sonnets 1-17: procreation sonnets ==<br /> <br /> == Sonnets 1-126: Fair Youth sequence ==<br /> <br /> == procreation ==<br /> <br /> == Sonnets 127-154: Dark Lady sequence ==<br /> <br /> == Themes and motifs ==</div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=Shakespeare%27s_sonnets&diff=8636 2012-12-10T11:09:26Z

<p>MGuttek: </p> <hr /> <div>&quot;Shakespeare's sonnets&quot; are a collection of 154 sonnets by William Shakespeare first published in 1609. The collection ends with the narrative poem &quot;A Lover's Complaint&quot;.<br /> While the first 17 sonnets of the collection are dealing with the topic of procreation and are addressed to a young man, as well as sonnets 18-126 dealing with the writer's love to the young man, the last sequence (sonnets 127-154) is dedicated to the Dark Lady.<br /> <br /> == Structure and style ==<br /> <br /> == Sonnets 1-17: procreation sonnets ==<br /> <br /> == Sonnets 1-126: Fair Youth sequence ==<br /> <br /> == Sonnets 127-154: Dark Lady sequence ==<br /> <br /> == Themes and motifs ==</div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=Shakespeare%27s_sonnets&diff=8635 2012-12-10T11:09:00Z

<p>MGuttek: </p> <hr /> <div>&quot;Shakespeare's sonnets&quot; are a collection of 154 sonnets by William Shakespeare first published in 1609. The collection ends with the narrative poem &quot;A Lover's Complaint&quot;.<br /> While the first 17 sonnets of the collection are dealing with the topic of procreation and are addressed to a young man, as well as sonnets 18-126 dealing with the writer's love to the young man, the last sequence (sonnets 127-154) is dedicated to the Dark Lady.<br /> <br /> == Structure and style ==<br /> <br /> == Sonnets 1-17: procreation sequence ==<br /> <br /> == Sonnets 1-126: Fair Youth sequence ==<br /> <br /> == Sonnets 127-154: Dark Lady sequence ==<br /> <br /> == Themes and motifs ==</div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=Shakespeare%27s_sonnets&diff=8634 2012-12-10T10:10:47Z

<p>MGuttek: </p> <hr /> <div>&quot;Shakespeare's sonnets&quot; are a collection of 154 sonnets by William Shakespeare first published in 1609. The collection ends with the narrative poem &quot;A Lover's Complaint&quot;.<br /> While the first 17 sonnets of the collection are dealing with the topic of procreation and are addressed to a young man, as well as sonnets 18-126 dealing with the writer's love to the young man, the last sequence (sonnets 127-154) is dedicated to the Dark Lady.<br /> <br /> == Sonnets 1-17: procreation sequence ==<br /> <br /> == Sonnets 1-126: Fair Youth sequence ==<br /> <br /> == Sonnets 127-154: Dark Lady sequence ==<br /> <br /> == Structure ==<br /> <br /> == Themes and motifs ==</div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=Shakespeare%27s_sonnets&diff=8633 2012-12-10T10:10:02Z

<p>MGuttek: </p> <hr /> <div>&quot;Shakespeare's sonnets&quot; are a collection of 154 sonnets by William Shakespeare first published in 1609. The collection ends with the narrative poem &quot;A Lover's Complaint&quot;.<br /> While the first 17 sonnets of the collection are dealing with the topic of procreation and are addressed to a young man, as well as sonnets 18-126 dealing with the writer's love to the young man, the last sequence (sonnets 127-154) is dedicated to the Dark Lady.<br /> <br /> <br /> == Sonnets 1-126: Fair Youth sequence ==<br /> <br /> == <br /> == Headline text ==<br /> Sonnets 1-17: procreation sequence ==<br /> <br /> == Sonnets 127-154: Dark Lady sequence ==<br /> <br /> == Structure ==<br /> <br /> == Themes and motifs ==</div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=Shakespeare%27s_sonnets&diff=8632 2012-12-10T10:09:34Z

<p>MGuttek: </p> <hr /> <div>&quot;Shakespeare's sonnets&quot; are a collection of 154 sonnets by William Shakespeare first published in 1609. The collection ends with the narrative poem &quot;A Lover's Complaint&quot;.<br /> While the first 17 sonnets of the collection are dealing with the topic of procreation and are addressed to a young man, as well as sonnets 18-126 dealing with the writer's love to the young man, the last sequence (sonnets 127-154) is dedicated to the Dark Lady.<br /> <br /> <br /> == Sonnets 1-126: Fair Youth sequence ==<br /> <br /> == Sonnets 1-17: procreation sequence ==<br /> <br /> == Sonnets 127-154: Dark Lady sequence ==<br /> <br /> == Structure ==<br /> <br /> == Themes and motifs ==</div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=Shakespeare%27s_sonnets&diff=8631 2012-12-10T10:08:38Z

<p>MGuttek: </p> <hr /> <div>&quot;Shakespeare's sonnets&quot; are a collection of 154 sonnets by William Shakespeare first published in 1609. The collection ends with the narrative poem &quot;A Lover's Complaint&quot;.<br /> While the first 17 sonnets of the collection are dealing with the topic of procreation and are addressed to a young man, as well as sonnets 18-126 dealing with the writer's love to the young man, the last sequence (sonnets 127-154) is dedicated to the Dark Lady.<br /> <br /> <br /> == Sonnets 1-126: Fair Youth sequence ==<br /> <br /> == Sonnets 1-17: procreation sequence ==<br /> <br /> == Sonnets 127-154: Dark Lady sequence ==</div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=Shakespeare%27s_sonnets&diff=8630 2012-12-10T10:02:18Z

<p>MGuttek: </p> <hr /> <div>&quot;Shakespeare's sonnets&quot; are a collection of 154 sonnets by William Shakespeare first published in 1609. The collection ends with the narrative poem &quot;A Lover's Complaint&quot;.<br /> While the first 17 sonnets of the collection are dealing with the topic of procreation and are addressed to a young man, as well as sonnets 18-126 dealing with the writer's love to the young man, the last sequence (sonnets 127-154) is dedicated to the Dark Lady.</div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=Shakespeare%27s_sonnets&diff=8629 2012-12-10T10:02:01Z

<p>MGuttek: </p> <hr /> <div>&quot;Shakespeare's sonnets&quot; are a collection of 154 sonnets by William Shakespeare first published in 1609. The collection ends with the narrative poem &quot;A Lover's Complaint&quot;.<br /> While the first 17 sonnets of the collection are dealing with the topic of procreation and are addressed to a young man, as well as sonnets 18-126 dealing with the writer's love to the young man, the last sequence (sonnets 127-154) are dedicated to the Dark Lady.</div>

MGuttek https://el.rub.de/wiki/Brit-Cult/index.php?title=Shakespeare%27s_sonnets&diff=8628 2012-12-10T10:01:41Z

<p>MGuttek: Created page with &#039;&quot;Shakespeare&#039;s sonnets&quot; are a collection of 154 sonnets by William Shakespeare, first published in 1609. The collection ends with the narrative poem &quot;A Lover&#039;s Complaint&quot;. While …&#039;</p> <hr /> <div>&quot;Shakespeare's sonnets&quot; are a collection of 154 sonnets by William Shakespeare, first published in 1609. The collection ends with the narrative poem &quot;A Lover's Complaint&quot;.<br /> While the first 17 sonnets of the collection are dealing with the topic of procreation and are addressed to a young man, as well as sonnets 18-126 dealing with the writer's love to the young man, the last sequence (sonnets 127-154) are dedicated to the Dark Lady.</div>

MGuttek