Even where it is glanced at as a pattern observable in nature or humanity, it is evoked as a disruptive, disturbing experience that cannot be dealt with as a philosophical problem.
In Sonnet 15, it may be possible to enter into an understandable protest against time destroying its own creations a commonplace enough Renaissance sentiment , and to accede to a sense of helplessness before a malignant force greater than the individual human being.
When the sonnet tries, however, by virtue of its formally structured argument, to create a consciousness that seeks to understand and so to control this awareness, the reader encounters lines or individual words that may undermine even the temporary satisfaction of the aesthetic form. The sonnet does not and need not answer such questions. To attempt criticism of the sonnets is, to an unusual extent, to be challenged to make oneself vulnerable, to undergo a kind of creative therapy, as one goes back and forth from such textual gaps and indeterminacies to the shifting, vulnerable self, making the reader aware of the inadequacy and betrayal of words, as well as of their amazing seductiveness.
Consider, for example, Sonnet When one falls in love with a much younger person, does one inevitably feel the insecurity of a generation gap? What is more important in such a reading of the sonnets is the insistence that age or youthfulness are not important in themselves: It is the insistence itself that is important, not the mere fact of age—just as it is the anxiety with which a man or woman watches the wrinkles beneath the eyes that is important, not the wrinkles themselves.
It stands for an invitation to participate in some wider psychological revelation, to confess the vulnerability that people encounter in themselves in any relationship that is real and growing, and therefore necessarily unpredictable and risky.
Without vulnerability and contingency, without the sense of being thrown into the world, there can be no growth. Hence the poet invites the reader to accept ruefully what the fact of his age evokes—an openness to ridicule or rejection. This is especially so in the Dark Lady sonnets, where there is a savage laceration of self, particularly in the fearful exhaustion of Sonnet , in which vulnerability is evoked as paralysis.
At once logically relentless and emotionally centrifugal, Sonnet generates fears or vulnerability and self-disgust. The strategies of the poem work to make the reader reveal or recognize his or her own compulsions and revulsions.
Even in the seemingly most serene sonnets, there are inevitably dark shadows of insecurity and anxiety. In Sonnet , for example, the argument is that a love that alters with time and circumstance is not a true, but a self-regarding love.
The poem purports to define true love by negatives, but if those negatives are deliberately negated, the poem that emerges may be seen as the dark, repressed underside of the apparently unassailable affirmation of a mature, self-giving, other-directed love.
Such apparent affirmations may be acts of repression, an attempt to regiment the unrelenting unexpectedness and challenge of love. There are poems in the collection that, although less assertive, show a willingness to be vulnerable, to reevaluate constantly, to swear permanence within, not despite, transience—to be, in the words of Saint Paul, deceivers yet true. Elsewhere, part of the torture of the Dark Lady sonnets is that such a consolation does not emerge through the pain.
In short, what Sonnet represses is the acknowledgment that the only fulfillment worth having is one that is struggled for and that is independent of law or compulsion.
The kind of creative fragility that it tries to marginalize is that evoked in the conclusion to Sonnet 49 when the poet admits his vulnerability: Lovers can affirm the authenticity of the erotic only by admitting the possibility that it is not absolute. Love has no absolute legal, moral, or causal claims; nor, in the final analysis, can love acknowledge the bonds of law, family, or state—or if finally they are acknowledged, it is because they grow from love itself.
Love moves by its own internal dynamic; it is not motivated by a series of external compulsions. Ultimately it asks from the lover the nolo contendere of commitment: Do with me what you will.
A real, that is to say, an altering, bending, never fixed and unpredictable love is always surrounded by, and at times seems to live by, battles, plots, subterfuges, quarrels, and irony. Yes, you read it right. We can definitely help you with your Shakespeare essay and to any other writing tasks for that matter. We are a company that caters to the needs of students like you.
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Appreciation of life, love and beauty William Shakespeare seemed to know exactly how to appreciate beauty, human life and of course, love. Varied literary works — from poems to essays, novels and even plays Shakespeare was able to produce not only poems or essay, but he also has a number of novels and plays which were all considered great by all literary analysts.
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Shakespeare Essays, Articles and Book Excerpts Please also see the plays, sonnets and biography home pages for extensive essays and resources. Essays on the Plays Essays on the Sonnets and Poems Essays on Shakespeare's Life.
William Shakespeare Critical Essays. William Shakespeare's Poetry. One of William Shakespeare’s great advantages as a writer was that, as a dramatist working in the public theater, he was afforded a degree of autonomy from the cultural dominance of the court, his age’s most powerful institution.
William Shakespeare was great English playwright, dramatist and poet who lived during the late sixteenth and early seventeenth centuries. Shakespeare is considered to be the greatest playwright of all time. No other writer’s plays have been produced so many times or read so widely in so many countries as his. William Shakespeare was born in [ ]. Free william shakespeare papers, essays, and research papers.
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