Saturday, April 7, 2012

Shakespeare and Petrarch

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Using imagery and simile, Shakespeare, Petrarch, and Billy Collins show the problematic journey each individual must endure in the complex ways of love, which pain and love coexist, through sonnets by the use of imagery, diction and alliteration.


Despite being labeled as a “romantic poet,” Shakespeare was a great satirist in his time, and was ironically found poking fun at the romanticists’ tradition of comparing one’s beloved to all things that are beautiful and divine. Despite this, his descriptions of one’s fair beloved are without peer, as he describes her beautiful tresses or a particular mannerism. In sonnet 10, Shakespeare wants to convey the image that even though his mistress is not as fair as one would hope for, they seem to share some affinity or bond that no other could share with him. Though the woman’s “hairs be wires, black wires grow on her head” is certainly not soft, he is still truly captivated by her (line 4). It is often said that the praise of his mistress is so negative that the reader is left with the impression that she is almost unlovable, though in the contrary he loves her fully despite her lack of feminine qualities. While neglecting her lack of grace for “when she walks, treads on the ground”, he still cherishes her imperfect, clumsy strides (line 1). He is clarifying the fact that he does not necessarily want a mistress who is the perfect epitome of a woman, a woman every male pines for; rather he wants for only what his mistress possesses despite her imperfections. Thinking of his “love as rare…she belied with false compare”, clarifies more for his love of the woman (line 1-14). This simply means that he cannot believe he loves a woman regardless of her flawed appearance, imperfect in some extent, but she offers something more than just good looks companionship.


As one of the great writers in the world of poems and sonnets, Petrarch seems to channel much of his energy into love poems that does not intend to persuade the subject of his love, but at the same instance, he inserts into his prose paragraphs his contempt for how men are continually hurt by women. One of the great works Petrarch has shown the world of art is sonnet LXXXVII. Petrarch’s use of diction greatly projects the emotions of love and surrender with which the characters endures. Wishing upon “the shot” with “which he hopes will go toward the destined goal and mark the spot” portrays the character’s determination to winning the woman he loves (line ,,4). In every plan for reforming ones life, it is especially important to keep in view that we are to guide ourselves not by idle wishes but by character and predisposition, and that we are to follow not the road which looks most attractive but the one which best suit to our needs. Neglecting the outcome of the situation he has placed upon himself, the character unknowingly situates his heart to a chance that can conceivably injure him. Setting his heart on the line, the man “by grief I am made tame, what my enemies do” is not “to make me die, but suffer pain” (line 1,1,14). It is without question the nature of the mind that when it is earnestly applied to one interest, it must neglect others like the sound of caution. Hence, it is those who cultivate expression that are often so inept for action but that men who engage in important affairs are less accomplished in expression. In this connection, I require that a man should be particularly honest in passing judgment on himself and not prone to be led astray by the delusive temptations of the eye and heart. It is in this that men and women are often prone to the damages of their hearts.


Billy Collin’s poems gain recognition by obtaining a distinctive way of turning from a straightforward simplicity, en route for a complex meditation, or from an ironic twist to a lyrical euphoria. Often seen in his works, he uses humor to lure readers into deeper, more serious places. While others such as “Sonnet”, enclose humor directing toward the iambic pentameters worldly known for its usage in sonnets. Many writers explore and exploit the blues until there are few surprises left, whereas Collins investigates the form with wry detachment, which gives him a fresh perspective on the genre. With great examples of alliteration, Collins combines past and future readers. During the process of writing “you get Elizabethan and insist the iambic bongos must be played” upon the consistent argument of love and detestation (line 5-6). In the era during Queen Elizabeth I reigns, love and pain were vastly practiced in poems and sonnets. The “iambic bongos” known throughout the world attaining the heartfelt lines of misery cannot be forgotten where it holds much impact and effect towards the audience. With each beat of the “bongos”, the characters in the moment live within those rhythms, creating a bond from text to man. In every sonnet and poem “where longing and heartache will find an end, where Laura will tell Petrarch to put down his pen”, connection from characters to reality end, though only memory remains (line 11-1). In writings found in books, there is a source of inspiration notorious or unfamiliar, exceedingly affecting aid in the anguish or ecstasy felt by the author. In this inspiration, confessions or rejection plays a part in the complex ways of love where we walk through with intent.


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There are countless people in the world also hoping to find that “one” who will fill the holes in their hearts, much like poems or movies heard around the world. The journey to finding that perfection is a troublesome learning experience for everyone.





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