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Comparing Love Sonnets: Shakespeare and Wroth - Essay Example

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The author of the "Comparing Love Sonnets: Shakespeare and Wroth" paper while Shakespeare’s poem can be seen to be divided into relatively three distinct quatrains and a couplet, Wroth’s poem seems more integrated, with the shifts between quatrains being little more than a bit deeper development…
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Comparing Love Sonnets: Shakespeare and Wroth
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Download file to see previous pages "The poetry was not the spontaneous outpouring of feelings which some modern readers still (wrongly) assume poetry should be.  It was in fact written very much within the parameters of Petrarchan convention, in which an idealistic female was both the cause of the male lover's sorrows, leading to his anguished endurance of extremes of emotion, and at the same time, became the moral dynamic to lead to his spiritual improvement.  The trick for the poets following Petrarch was to reinvigorate those conventions with a distinct life of their own, a voice characteristic of the poet himself.” In other words, the poetry was designed to express extreme emotion while at the same time demonstrate how that emotion led to a higher spiritual awareness as it was understood by the particular poet. In the cases of William Shakespeare and Lady Mary Wroth, this was accomplished through clever manipulation of the dictates of the sonnet. An analysis of the forms and structure of their poetry, as well as an overall look at the content of their poems, reveals several differences based upon meter, rhyme scheme, format and influences as will be demonstrated through a look at Shakespeare’s third sonnet and Wroth’s second verse of “Pamphilia to Amphilanthus.”

The sonnet is generally defined as a poem consisting of exactly fourteen lines following one of several specific sets of rhyme-schemes and in iambic pentameter. In this, both Shakespeare’s third sonnet and Wroth’s “Pamphilia to Amphilanthus #2” follow convention. The similar meter can be found in the first lines of each poem: “Yet is their hope, then Love but play thy part” (Wroth: 1); “Look in thy glass and tell the face thou viewest” (Shakespeare: 1) in which the first stressed syllable can be seen to fall on the first syllable of the line. Likewise, a metrical similarity exists between “Remember well thy self and think on me” (Wroth: 2) and “For where is she so fair whose uneared womb” (Shakespeare: 5). Here, the stress falls naturally upon the second syllable of each line, changing the beat of the poem just slightly. ...Download file to see next pagesRead More
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