Sonnet 130: Difference between revisions
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And yet, by heaven, I think my love as rare <br> |
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As any she belied with false compare.}} |
As any she belied with false compare.}} |
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Abby is a beast. |
Abby is a beast.! |
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[[William Shakespeare|Shakespeare's]] '''Sonnet CXXX''' mocks the conventions of the showy and flowery courtly sonnets in its realistic portrayal of [[Shakespeare's sonnets#The Dark Lady|his mistress]]. |
[[William Shakespeare|Shakespeare's]] '''Sonnet CXXX''' mocks the conventions of the showy and flowery courtly sonnets in its realistic portrayal of [[Shakespeare's sonnets#The Dark Lady|his mistress]]. |
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Revision as of 16:58, 26 September 2011
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Abby is a beast.!
Shakespeare's Sonnet CXXX mocks the conventions of the showy and flowery courtly sonnets in its realistic portrayal of his mistress.
Synopsis
This sonnet compares the Poet’s mistress to a number of natural beauties; each time making a point of his mistress’ obvious inadequacy in such comparisons; she cannot hope to stand up to the beauties of the natural world. The first five couplets compare the speaker’s mistress to aspects of nature, such as snow or coral; each comparison ending unflatteringly for the mistress. In the final couplet, the speaker claims his love for his mistress by claiming that while he makes no strive to create false comparison, he loves his mistress as much as any man could love a woman.
Poetic form
The poetic forum uses standard Shakespearean iambic pentameter, following the AB-AB/CD-CD/EF-EF/GG Rhyme Scheme.
Analysis
Sonnet 130 as a Satire
“This sonnet plays with poetic conventions in which, for example, the mistress’s eyes are compared with the sun, her lips with coral, and her cheeks with roses. His mistress, says the poet, is nothing like this conventional image, but is as lovely as any woman” [1]. Here Barbara Mowat offers her opinion of the meaning behind Sonnet 130; this work simply breaks down the mold in which Sonnets had come to conform to. Shakespeare composed a sonnet which seems to parody a great many sonnets of the time. Poets like Thomas Watson, Michael Drayton, and Barnabe Barnes were all part of this sonnet craze and each wrote sonnets proclaiming love for an almost unimaginable figure [2]; Patrick Crutwell posits that Sonnet 130 could actually be a satire of the Thomas Watson poem “Passionate Century of Love”, pointing out that the Watson poem contains all but one of the platitudes that Shakespeare is making fun of in Sonnet 130.[3] However, E.G. Rogers points out the similarities between Watson’s “Passionate Century of Love,” Sonnet 130, and Richard Linche’s Poem collection entitled “Diella.”[4] There is a great deal of similarity between sections of the Diella poem collection and Shakespeare’s “Sonnet 130”, for example in “130” we see, “If hairs be wires, black wires grow on her head,” where in “Diella” we see “Her hayre exceeds fold forced in the smallest wire.” [5] Each work uses a comparison of hairs to wires; while in modern sense this may seem unflattering one could argue that Linche’s work draws upon the beauty of weaving gold and that Shakespeare mocks this with harsh comparison. This along with other similarities in textual content lead, as E.G. Rodgers points out, the critic to believe that Diella may have been the source of inspiration for both homage, by Watson’s “Passionate Century of Love,” and satire by Shakespeare’s “Sonnet 130.” The idea of Satire is further enforced by final couplet of “130” in which the speaker delivers his most expositional line: “And yet, by heaven, I think my love as rare, as any she belied with false compare.” This line projects the message behind this work; demeaning the false comparisons made by many Poets of the time.[6]
Sonnet 130: Complimentary/Derisive Nature
According to Carl Atkins, many early editors took the sonnet at face value and believed that it was simply a disparagement of the writer’s mistress.[7] However, William Flesch believes that the poem is actually quite the opposite, and acts as a compliment. He points out that many poems of the day seem to compliment the object of the poem for qualities that they really don’t have, such as snow white skin or golden hair.[8] He states that people really don’t want to be complimented on a quality they don’t have, e.g. an old person doesn’t want to be told they are physically young, they want to be told they are youthful, in behavior or in looks. Flesch notes that while what Shakespeare writes of can seem derisive, he is in reality complimenting qualities the mistress truly exhibits, and he ends the poem with his confession of love.
Possible influences
Shakespeare and other great writers would reference each other and each other’s works in their own writing. According to Felicia Jean Steele, Shakespeare uses Petrarchan imagery while actually undermining it at the same time. [9] Stephen Booth would agree that Shakespeare references Petrarchan works however, Booth says that Shakespeare “gently mocks the thoughtless mechanical application of the standard Petrarchan metaphors.” [10] Felicia Steele and Stephen Booth agree that there is some referencing going on, they vary slightly in the degree of Shakespeare’s mockery. Steele feels much stronger about the degree in which Shakespeare is discounting Petrarchan ideas by observing that in 14 lines of Sonnet 130, “Shakespeare seems to undo, discount, or invalidate nearly every Petrarchan conceit about feminine beauty employed by his fellow sonneteers.” The final couplet is designed to undo the damage Shakespeare has done to his reader’s faith that he indeed loves his “dusky mistress.” Steele’s article offers Stephen Booth’s paraphrasing of the couplet: “I think that my love is as rare as any woman belied by false compare.” Helen Vendler, who is also referenced in Steele’s article states that the final couplet would read; “In all, by heaven, I think my love as rare/ As any she conceived for compare.” All three of these authors; Steele, Booth, and Vendler believe that in this couplet, Shakespeare is responding to Petrarchan imagery because other sonneteers actively misrepresent, or “belie” their mistress‘ beauty. Sonnet 130 talks of all the girl's negative features but Shakespeare says, "I don't care, I still love her."
See also
References
- ^ Mowat, Barbara A., and Paul Werstine, eds. Shakespeare's Sonnets. New York: Washington Square, 2004. Print.
- ^ Quennell, P. Shakespeare: the Poet and his Background. Weidenfeld and Nicolson, London, 1964. Print
- ^ Crutwell, Patrick. The Shakespearean Moment and its Place in the Poetry of the 17th Century. New York: Random House. 1960. Print
- ^ Rogers, E.G., "Sonnet CXXX: Watson to Linche to Shakespeare." Shakespeare Quarterly. 11.2 (1960): 232-233. Print.
- ^ Rogers, E.G., "Sonnet CXXX: Watson to Linche to Shakespeare." Shakespeare Quarterly. 11.2 (1960): 232-233. Print.
- ^ Vendler, Helen. The Art of Shakespeare’s Sonnets. Harvard University Press, Massachusetts, 1997
- ^ Shakespeare, William, and Carl D. Atkins. Shakespeare's Sonnets: with Three Hundred Years of Commentary. Madison NJ: Fairleigh Dickinson UP, 2007. Print.
- ^ Flesch, William. "Personal Identity and Vicarious Experience in Shakespeare's Sonnets." Print. Rpt. in A Companion to Shakespeare's Sonnets. Ed. Michael Schoenfeldt. Malden, MA: Blackwell, 2007. 383-401. Print.
- ^ Steele, Felicia Jean. "Shakespeare Sonnet 130." Explicator 62. pp. 132-137. 2003
- ^ Booth, Stephan. Shakespeare's Sonnets, Edited with Analytic Commentary. New Haven, 1977
