William Shakespeare Sonnet 18 Shall I compare thee to a passâ??s day? a Thou art more than lovely and more temperate:b Rough winds do shake the darling buds of May,a And spendâ??s accept hath all in like manner short a date:b Sometime too hot the eye of heaven shinesc And often is his gold complexion dimmed,d And every handsome from upright sometimes pooh-poohs,c By chance, or constitutionâ??s changing course, untrimmed;d only thy imperishable spend shall not fade,e Nor lose pigheadedness of that fair kelvin owâ??st;f Nor shall death hyperbolise thou gradeâ??st in his shade,e When in eternal government notes to time thou growâ??st:f So long as worldly concern can breathe, or eyes can see,g So long lives this and this gives life to theeg 3 Sentences: 1st condemnation: cable length 1 2nd sentence: credit lines 2 - 8 3rd sentence: lines 9 - 14 This is a Shakespearian praise with no characteristics of a Petrarchan sonnet.
GLOSSARY Temperate learn Darlingvery dear Leasethe term during which possession is guaranteed Datethe time during which something lasts Complexioncolour, visible aspect, appearance To declineto diminish, decrease, deteriorate Untrimmednot carefully or neatly arranged or attired Fair dishful, fairness, good looks everlasting infinite in past and future duration, without beginning or end To bragto declare or assert large â??SHALL I COMPARE THEE TO A SUMMERâ??S daylightâ?? Sonnet 18 by William Shakespeare is virtuoso of the sonnets that describe the outstanding apricot of an unspecified lover and time as a relent slight ravisher with no mercy for anyone or anything. The tho way to defy time is to become immortal in verse. The persona is the I in line 1 and he (Shakespeare himself?) is addressing a person (a him or a her) whom he adores.
The interpretation of the beauty of the unknown lover is the central idae throughout the sonnet and the element of time names its showtime appearance in line 4 where it says And passâ??s lease hath all too short a date. This signifies the limited time during which the supreme qualities of spend are at their best. The beauty is described in the shape of an answer to the question posed in the first line: Shall I compare thee to a summerâ??s day? This question is only intended to introduce the subject, which is the beauty of the lover. It is not relevant if the poet does or does not compare him or her to a summerâ??s day. Of more importance is the end of this comparison.
What then is the result of the comparison? Already in line 2 it becomes receptive that the object of admiration is preferred to the summerâ??s day. The following lines (lines 3 to 8) deport a number of negative qualities of summer. These can be reduced to dickens basic moods which are joined in line 4: And summerâ??s lease hath too short a date.
The first idea presented is the idea that the beauty of summer is not stable. Sometimes there are Rough winds (line 3), the lie may be too hot (line 5) or not bright enough (line 6). The lover is described as more temperate in line 2 and therefore less prone to vary between extremes.
The second basic idea is the idea that time ends everything. The notion of time is already present in line 1 in which the summerâ??s day is mentioned, the day being one of the measures of time. Then in line 7 it says that every beauty at one time or another is affected either by chance or by the change of season ( personalityâ??s changing course line 8), in this slip of paper the end of summer. The object of the personaâ??s adoration does not suffer from this finiteness. His eternal summerâ??s day shall not fade, or, as described in line 10, his beauty will remain his forever and the personification of death in line 11 shall not be able to make him follow him into the realms of the dead.
      This immunity from devouring time is accomplished by immortalisation in lines of verse. These lines will even make stronger and more resplendent as time proceeds, as line 12 points out.
The utilisation of the word eternal in this line as puff up as in line 9 (eternal summer) contrasts sharply with the idea of finiteness attached to a summerâ??s day (line 1) and every fair (line 7). The immortalisation is continued in the final lines: life will be preserved by the readers of these verses in years and years to come.
The syntax and form in general work together. Most lines constitute a grammatic unity, there is no enjambment. The first lyric of the lines often prognosticate the beginning of a new grammatical unit. The word and, for example, is utilise as the opening word in three lines.
A Shakespearean sonnet consists of three quatrains and a couplet. This also applies to sonnet 18. The first quatrain introduces the subject. The second quatrain presents a generalisation of the idea that no beauty lasts forever. The third quatrain, aptly introduced by but (a clear turn), states that the beauty of the person this poem is addressed to is something that cannot be moved(p) by time. The final couplet, in very consistent iambic pentameter, encapsulates the idea of eternal life through versification.
The meter is iambic pentameter and the rhythm is fairly rhythmical throughout the sonnet. However, in a number of lines there are spondaic feet, used to emphasize scourges to the beauty and the idea of eternity. Clear examples of this are the Rough winds in line 3 and the death that will not brag in line 11. In the latter example the threat of death is reinforced by the assonance between the words death and brag. Line 9 is an interesting line as regards the rhythm. For the last two feet reinforce the turn, introduced by the But. A regular rhythm would have a express on shall, followed by an unstressed not. However, the opposite is true. This distinctly adds to the contrasting quality of this line: after two regular iambic pentameters the stress on the not following the preceding But leaves no doubt about the turn the reader witnesses in this line. A truly beautiful example of a Shakespearean turn.
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