Sonnet 130 notes. Sonnet 130: My mistress' eyes are nothing like… 2022-12-12
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In D.H. Lawrence's novel Sons and Lovers, relationships play a central role in the development of the main character, Paul Morel. Throughout the novel, Paul struggles to find his place in the world and to define his own identity, and his relationships with those around him are a significant factor in this process.
One of the most significant relationships in the novel is that between Paul and his mother, Gertrude. Gertrude is a strong and fiercely independent woman who has a deep love for her son and wants the best for him. However, she is also possessive and controlling, and her need for Paul's attention and affection often conflicts with his desire for independence and his own identity. This tension between Paul and Gertrude is a central theme of the novel and is ultimately a major factor in Paul's struggle to find his own way in the world.
Another important relationship in the novel is that between Paul and his lover, Miriam. Miriam is a quiet, introspective young woman who is deeply in love with Paul and wants to be with him. However, Paul is torn between his feelings for Miriam and his duty to his mother, and his inability to fully commit to Miriam causes her great pain. This conflict ultimately leads to the end of their relationship, and Paul is left to deal with the consequences of his actions.
In addition to these relationships, Paul also has a number of other significant relationships in the novel, including those with his friends and his sister. These relationships help to shape his understanding of the world and his place in it, and they also serve as a source of support and guidance as he navigates the complexities of life.
Overall, the relationships in Sons and Lovers play a crucial role in the development of the main character and in the exploration of the themes of identity, love, and family. Through these relationships, Paul is able to understand his own feelings and desires and to find his place in the world, even as he struggles with the challenges and conflicts that inevitably arise in any relationship.
Sonnet 130
In sonnet 130, the speaker does the opposite, saying these elements in nature are far greater than is mistress's qualities. I have seen roses damasked, red and white, But no such roses see I in her cheeks; And in some perfumes is there more delight Than in the breath that from my mistress reeks. The first 126 sonnets are addressed to a man, in whom the speaker denies having sexual interest. The speaker uses a sarcastic tone to mock the exaggerated way that many poets of the era wrote about their lovers. Her hair is described as black wires.
An illustration by Charles Sorel in his anti-romance The Extravagant Shepherd depicts a woman with literal suns for eyes, roses for cheeks, and pearls for teeth. Sonnet 130 is particularly notable among Shakespeare's sonnets because of its reversal of the common expectations that readers had about love poetry. The speaker knows his love is unique and powerful, despite her not embodying unattainable poetic ideals. Sonnet 130 Tone Sonnet 130's tone is important to note because it is unusual and because it changes throughout the poem. It always involved a detailed summary of all of the main features and colors of an illustration and also described the position and relation of one picture to another. Most sonnets, including others written by Shakespeare, praised women and practically deified them. There is no pinkish blush on her cheeks.
Poets often concern themselves with the nature of their art and, in creating new ways of seeing human experience, question the validity of the poetic conventions of their predecessors. Damasked roses are the stuff of love poetry, but the trope of line 5 is quickly undercut by line 6 which completely negates the praise at which the previous line had hinted. Alternately, this woman's coloring might not just represent her dirtiness, but also her earthiness, and perhaps her natural sexuality. Sonnet 130 Summary Sonnet 130 describes the characteristics of the speaker's beloved in contrast to the natural phenomena that were frequently used as metaphors in the love poetry of the time. Throughout the poem, the speaker uses fairly typical hyperbole that you see in love poems but then denies that those apply to his mistress her eyes are nothing like the sun, for example. Love is not a rose, beloveds are not heavenly goddesses, lovers do not die from being rejected by their beloveds.
Shakespeare's Sonnet 130: Summary, Tone & Literary Devices
It was lovely to look at, and it gave off a strong fragrance. Such metaphors and similes are, after all, mere lies—poetic lies, perhaps, but lies nevertheless. I love to hear her speak, yet well I know That music hath a far more pleasing sound: I grant I never saw a goddess go, My mistress, when she walks, treads on the ground: And yet by heaven, I think my love as rare, As any she belied with false compare. Sonnet 130 Summary Sonnet 130 describes the characteristics of the speaker's beloved in contrast to the natural phenomena that were frequently used as metaphors in the love poetry of the time. His love most certainly isn't as ill-created as he presents in Sonnet 130, but she is a regular woman. Certainly, the speaker is mocking the employment of a typical Petrarchan conceit, in which women's eyes were compared to the sun, stars, and other heavenly bodies; such expressions lose their subtlety of meaning with overuse and becomes cliches.
A lover doesn't have to be like the sun and coral and snow and roses, etc. I love to hear her speak, but I also know that That music has a much more pleasing sound. I have seen roses damask, red and white, But no such roses see I in her cheeks; And in some perfumes is there more delight Than in the breath that from my mistress reeks. Lesson Summary Sonnet 130 is a love poem by William Shakespeare that turns the usual attributes of romantic poetry upside down. Her skin is ''dun,'' meaning a dull gray or brown, rather than the snow-white skin often idealized in love poetry of the era.
 The comparison was not quite as unflattering during the Renaissance as during modern times. Some are more melancholy than others, but no sonnet seems insulting - except this one! This speaker refuses to compare his mistress with that which he has never seen. This is, of course, highly appropriate, for it is at this moment that Shakespeare introduces, with perfect dramatic timing, the central and unexpected point of this poem: that although his mistress is not conventionally beautiful, he loves her more than any other woman and will not judge her value by mere appearance. Using far-fetched comparisons to elevate a lady actually elongates the distance between two souls. Literary Devices Shakespeare uses metaphor, or a figure of speech that makes a point through comparison, all throughout his sonnet.
Lines 9—12 I love to hear her speak, yet well I know That music hath a far more pleasing sound; I grant I never saw a goddess go; My mistress, when she walks, treads on the ground. Sonnet 130 by William Shakespeare Sonnet 130 is a poem by William Shakespeare. She has pale cheeks and her hair is wiry. The metaphors are usually used in the negative, resisting the comparisons that other poets might make. He believes his relationship with this woman is better because it is based on honesty. He loves the lady as she already is.
I love to hear her speak, yet well I know That music hath a far more pleasing sound: I grant I never saw a goddess go, My mistress, when she walks, treads on the ground: And yet by heaven, I think my love as rare, As any she belied with false compare. She has pale cheeks and her hair is wiry. It is still unknown who many of the figures in his sonnets are, or whether or not Shakespeare authored his own works or merely signed his name on completed plays, and convincing arguments exist on both sides. As with the Fair Youth, scholars identity her with a real historical individual, Lucy Negro. Â By this time, the reader's suspicions have been thoroughly awakened, and the effect is continued in the following line, that suggests the woman's hair looks like black wires. Although the poem focuses on this woman, its main subject is perception itself and the methods by which poets represent love.
Like almost all sonnets, Sonnet 130 is written in iambic pentameter. The rhetorical structure of Sonnet 130 is important to its effect. We will dissect the sonnet, line by line, in an effort to understand the poem's true message. He criticizes the unrealistic and frivolous ways that other poets describe love, suggesting that his realism actually makes his love more powerful than a love that has to rely on illusion and hyperbole to survive. This poem is not actually about insulting the speaker's lover, but rather about expressing a love that is in many ways more true and more real than the love that is usually described in poetry. Love is not a rose, beloveds are not heavenly goddesses, lovers do not die from being rejected by their beloveds.
Such metaphors and similes are, after all, mere lies—poetic lies, perhaps, but lies nevertheless. This poem, perhaps the most famous of the sequence. And yet, by heaven, I think my love as rare As any she belied with false compare. Lines 9—12 I love to hear her speak, yet well I know That music hath a far more pleasing sound; I grant I never saw a goddess go; My mistress, when she walks, treads on the ground. He criticizes the unrealistic and frivolous ways that other poets describe love, suggesting that his realism actually makes his love more powerful than a love that has to rely on illusion and hyperbole to survive. As such, they have been used by poets to express an absolute ideal, a perfection not possible in real life. Sonnet 130 is particularly notable among Shakespeare's sonnets because of its reversal of the common expectations that readers had about love poetry.
