Katharine Phipps
William Shakespeare, Sonnet 18
1 Shall I compare thee to a summer's day?
2 Thou art more lovely and more temperate.
3 Rough winds do shake the darling buds of May,
4 And summer's lease hath all too short a date.
5 Sometime too hot the eye of heaven shines,
6 And often is his gold complexion dimm'd;
7 And every fair from fair sometime declines,
8 By chance or nature's changing course untrimm'd;
9 But thy eternal summer shall not fade
10 Nor lose possession of that fair thou ow'st;
11 Nor shall Death brag thou wander'st in his shade,
12 When in eternal lines to time thou grow'st:
13 So long as men can breathe or eyes can see,
14 So long lives this, and this gives life to thee.
In this sonnet the speaker compares summer and the beloved. He uses the elements of nature
to describe his feelings towards the subject. A summer day can be beautiful, however; also
extreme. The poet states that the beloved is, in fact, more perfect than a summer
day-“Thou are more lovely and more temperate.” This comparison between nature
and the beloved, allows the poet to give human-like characteristics to a summer day,
“his golden complexion.”
Lines 10-11: POLYSYNDETON “Nor lose possession of that fair thou ow'st; Nor
shall Death brag thou wander'st in his shade,”
Lines 1 and 5: METAPHORE “Shall I compare thee to a summer’s day?”
“ Sometime too hot the eye of heavan shines.”
Lines 13-14: ANAPHORA “ So long as men can breathe or eyes can see, So long
lives this, and this gives life to thee.”
Line 14: POLYPTOTON “So long lives this, and gives life to thee.”
Line 5-6: HYPERBATON “Sometime too hot the eye of heaven shines, And often is
his gold complexion dimm'd;”
Line 7: ALLITERATION “And every fair from fair sometime declines,”
Line 5: ASSONANCE “Sometime too hot the eye of heaven shines,”
Lines 1-14: CONNOTATION
SO WHAT?
The first rhetorical term listed above is POLYSYNDETON. This takes place where there is an
unusual repetition of the same conjunction. “Nor lose possession of that fair thou
ow'st; Nor shall Death brag thou wander'st in his shade,” is an example of
POLYSYNDETON with the repetition of the conjunction ‘nor.’ METAPHORES are to
create new dimensions for figures of similarity. In line 1, the poet is comparing the
beloved to a summer day. In line 7 “,too hot the eye of heaven shines,” the poet
is poses the idea that heaven has an eye. ANAPHORA takes place when a word or phrase is
repeated at the beginning of a successive clause, phrase, or line. Lines 13 and 14
demonstrate ANAPHORA with the quote,“ So long as men can breathe or eyes can see ,So
long lives this, and this gives life to thee.” POLYPTOTON is the repetition of words
derived from the same root, but with different endings. In line 14, the term
‘lives’ is repeated as ‘life.’ HYPERBATON is when the usual word is
rearranged. In lines 5-6, “Sometime too hot the eye of heaven shines, And often is
his gold complexion dimm'd;” could be converted to, “sometimes the eye of heaven
shines too hot and his gold complexion is often dimmed.” ALLITERATION occurs when the
same sound is repeated at the beginning of several words. An example of this is in line 7
with the words fair and from when the poet states, “And every fair from fair sometime
declines.” ASSONANCE takes place where there are similar vowel sounds that are being
repeated, such as line 5, ““Sometime too hot the eye of heaven shines,” The
vowel “O” is being stressed in this line. CONNOTATION takes place throughout the
entirety of the poem. This occurs when there are emotional implications are distinguished
from their denotative meaning. The poet is emotionally comparing the beloved to nature.
Macrae Carreker
Holy Sonnet XIV - John Donne
Batter my heart, three-personed God, for you
As yet but knock, breathe, shine, and seek to mend;
That I may rise, and stand, o'erthrow me, and bend
Your force to break, blow, burn, and make me new.
I, like an usurped town, to another due,
Labour to admit you, but Oh, to no end.
Reason, your viceroy in me, me should defend,
But is captived, and proves weak or untrue.
Yet dearly I love you, and would be loved fain,
But am betrothed unto your enemy:
Divorce me, untie or break that knot again,
Take me to you, imprison me, for I,
Except you enthrall me, never shall be free,
Nor ever chaste, except you ravish me.
Donne is calling to God to take him in a forceful manner so that Donne might be completely
holy. He claims that though he loves God he is still to weak on his own to fully commit to
God and needs God’s force to overtake him to become one with God.
epithet- line 1
hyperbaton- line 1-2 “for You/ As yet but knock, breathe, shine, and seek to
mend”
invective- throughout poem Donne blaming self for flaws
metaphor- Donne married to the devil and wanting God to divorce them and then Donne marry
God
simile- line 5
periodic sentence- line 1-2, line 3-4, we don’t get the sense of what he means until
the end of the line and the end is climaxed with his wish for purity and
“new[ness]”.
alliteration- line 4
onomatopoeia- line 4
anadipolsis- line 7, with the repetition of “me”
antithesis- line 13-14, with the words “enthrall” vs. “free” and
“chaste” vs. “ravish”
chiasmus- line 13-14
apostrophe- line 6,7, addressing Labor and Reason
asyndeton- line 2
Donne introduces his desire for God to take over his heart with the first line of the poem
and uses the epithet of the “three- personed God” to give a little more
information about God and to recall that He is the Holy Trinity making Him even more
important. The hyperbaton gives Donne the chance to create an asyndeton of what he wishes
God to do to “mend” him, helping the reader to see that Donne greatly desires a
full embodiment of God’s help. Donne’s invective is toward himself as he
expresses in the simile where he is “like an usurped town, to another due,
Labor”, meaning he captured as a slave to another other than God. Here begins his
metaphor of being someone married now to the Devil but wishing to be wed to God. The
alliteration in “break, blow, burn” creates the onomatopoeia to the sound of
something being rebuilt, as Donne wishes God to “make [him] new” by doing these
tasks. Using an anadipolsis in line seven with the word “me” amplifies that it
is he himself that is overcome with the devil’s influence and again himself that
wishes not to be overcome. This highlights the struggle that Donne is going through
helping the reader to feel that struggle also. The last couplet embodies the struggle as
well. Donne uses the opposing pairs of words in “enthrall” with “free”
and “chaste” with “ravish” to exhibit the confusion and fight he is
experiencing. The chiasmus leaves somewhat of a balancing out of the opposites by helping
the reader to conclude that with total devotion to God he will be completely safe from
evil’s attacks. Labor and Reason are addressed each in an apostrophe to break from
his conversation with God to speaking to the two things that are keeping him from God.
These two things are the labor to the Devil and his own reason that he governing him that
“proves weak and untrue”, and from these Donne wishes to be free.
__________________________________
Stephanie
Deal
William Shakespeare, SONNET CXVI
1 Let me not to the marriage of true minds
2 Admit impediments. Love is not love
3 Which alters when it alteration finds,
4 Or bends with the remover to remove.
5 O no! it is an ever-fixed mark
6 That looks on tempests and is never shaken;
7 It is the star to every wand'ring bark,
8 Whose worth's unknown, although his height be taken.
9 Love's not Time's fool, though rosy lips and cheeks
10 Within his bending sickle's compass come;
11 Love alters not with his brief hours and weeks,
12 But bears it out even to the edge of doom.
13 If this be error and upon me prov'd,
14 I never writ, nor no man ever lov'd.
Sonnet 116 is about the nature of pure love. Shakespeare describes love in its pure form
between two ‘true’ minds and stands as an unchanging goal to reach out on.
Throughout the sonnet he compares love to the steadfastness of the northern star and
states that love cannot be affected by the progress of time. Shakespeare states here that
true love cannot be stopped and is infinitely strong. If he is wrong about that statement
then he has never written and no one has ever truly loved.
Line 1: Alliteration: “Let me not to the marriage of true minds”
Line 2: Paradox: “Love is not love…”
Parison and Polypton:
Line 3: “alters when it alteration…”
Line 4: “remover to remove”
Lines 5-8: Confirmation of Line 2/3
Line 6: Personification: “Looks on tempests”
Line 7: Metaphor: “It is the star to every wand’ring bark” (compared to the
North Star)
Line 8: Assonance: “Whose worth’s unknown, although”
Lines 9-11: Personification: “his” (gives Time the characteristics of a man)
Lines 13-14: Deduction.
Shakespeare starts out the poem with alliteration drawing attention to his beginning
reference to the traditional marriage vows. This is immediately followed by the paradox
“love is not love” which leads into lines 3 and 4 with parison and polypton.
These devices highlight the importance of understanding what love is not to understand
what it is. The confirmation that follows is in the form of a central metaphor to the
work. Shakespeare has been telling us what love isn’t and now he uses the metaphor to
show us what love is. After this, Shakespeare goes into a negative structure again and
uses the personification of time to give us a picture of love by stating what it is not.
Finally, Shakespeare states that love endures until the end of life and he ends with a
strong deduction. If his ideas about love are proven wrong, then all of his writings never
existed and no one has truly loved.
Artisheia Brown
William Shakespeare, SONNET CXVI
1 Let me not to the marriage of true minds
2 Admit impediments. Love is not love
3 Which alters when it alteration finds,
4 Or bends with the remover to remove.
5 O no! it is an ever-fixed mark
6 That looks on tempests and is never shaken;
7 It is the star to every wand'ring bark,
8 Whose worth's unknown, although his height be taken.
9 Love's not Time's fool, though rosy lips and cheeks
10 Within his bending sickle's compass come;
11 Love alters not with his brief hours and weeks,
12 But bears it out even to the edge of doom.
13 If this be error and upon me prov'd,
14 I never writ, nor no man ever lov'd.
Shakespeare Sonnet 116 is a love poem. Love is used as a metaphor to describe a woman or
women. Sonnet 116 shows the beauty of love and how love is everlasting. Shakespeare is a
strong believe in love and feels that everyone should be involved in holy matrimony. The
poem has a rhyme scheme in every two lines. For example: “Let me not to the marriage
of true minds”(line 1) and “Which alters when it alteration finds” (line
3).
1.
2. DIACOPE-“ Love is not love”
3. DISTINCTION-“it alteration finds”
4. POLYPTOTON- “or bends with the remover to remove”
5. DISTINCTION-“it is an”, HYPERBOLE-“O no!, it is an ever-fixed mark”
6.
7. DISTINCTION-“It is the star”
8.
9. EFFECTIO- “rosy lips and cheeks”
10.
11.
12. DISTINCTION-“it out even “
13.
14.
Nicki Peebles
A Question by Shelley
Lord Alfred Tennyson
1. "Then what is life?" I cried. From his rent deeps
2. Of soul the poet cast that burning word;
3. And it should seem as though his prayer was heard,
4. For he died soon; and now his rest he keeps
5. Somewhere with the great spirit who never sleeps!
6. He had left us to murmur on awhile
7. And question still most fruitlessly this pile
8. Of natural shows, What life is? Why man weeps?
9. Why sins?--and whither when the awful veil
10. Floats on to him he sinks from earthly sight?
11. Some are, who never grow a whit more pale
12. For thinking on the general mystery,
13. Ground of all being; yet may I rather be
14. Of those who know and feel that it is night.
RHETORICAL SITUATION
This sonnet by Tennyson expresses the authors need for answers, or at the very least, to
ask questions. He is warning us that if we fail to think, to question, and to pursue, then
we will fail to experience life. He does acknowledge that these questions are in vein, or
“fruitless”, but the challenge lies in asking.
MOVEMENT
The beginning of the sonnet presents a testimony of a man who was brave enough to pursue
knowledge. The octave presents the questions he has left us with, and the ending of the
sonnet serves as a warning as to your fate if you fail to ponder on such great mysteries.
APOSTROPHE
Line 1: "Then what is life?" I cried.
This is the author’s cry of frustration into space regarding the meaning of life.
TETRACOLON CLIMAX
Lines 8-10: What life is? Why man weeps? Why sins? and whither when the awful veil
Floats on to him he sinks from earthly sight?
Although this is a list of questions, it
IRONY
Lines 1-3: Then what is life?" I cried. From his rent deeps/Of soul the poet cast
that burning word; And it should seem as though his prayer was heard, /For he died soon
This is ironic because after asking for the meaning of life, the poet died.
RHETORICAL QUESTIONS/HYPOPHORA
Lines 8-9: What life is? Why man weeps?/Why sins?--and whither when the awful veil /Floats
on to him he sinks from earthly sight?
The author doesn’t really want to know the answers to these questions, he is giving
the audience something to think about.
ANTICIPATION
Lines 11-14: Some are, who never grow a whit more pale/For thinking on the general
mystery,/Ground of all being; yet may I rather be/Of those who know and feel that it is
night.
The author is bring up the point that some people may not think that to ponder these type
of questions are important, but he would rather be someone who thinks they are. His
reasoning is that the people who don’t think these questions are necessary are void
of thought and feelings.
ALLITERATION
Line 5: Somewhere with the great spirit who never sleeps
Line 10: sinks from earthly sight
Alliteration of some degree is necessary in sonnets to maintain the rythem, but this
sonnet has a particularly “s” sound throughout until the reader gets to the
final 4 lines. The “s” sound is reminiscent of danger or a serpent. It’s as
if the author is saying that there is safety in asking big questions.
METAPHOR
Line 9: Death as a veil
This is a common metaphor, but is particularly useful in this setting because death
shelters people as does being afraid to find answers.
AMBIGUITY
Line 11: “who never grow a whit more pale”
This is a funny line because of how the author uses the word pale. He uses it in the sense
that the person hasn’t spent much time contemplating big ideas, but the word pale is
also synonymous with death.
Line 13: Ground of all being
This line could either mean that the people who don’t take time to think about deeper
things have no substance, or once again this line is reminiscent of death.
AUXISIS
Lines 8-10: What life is? Why man weeps?/Why sins?--and whither when the awful veil/Floats
on to him he sinks from earthly sight?
These seemingly simple questions move from a basic question about life, to why do men cry,
to why men mess up, and then finally why do they die?
APOSIOPESIS
Lines 8-10: What life is? Why man weeps?/Why sins?--and whither when the awful veil/Floats
on to him he sinks from earthly sight?
The poet interrupts his style in the questions he is asking in order to point out the
finality of death, and to differentiate in the mortality of the questions. The first 3
deal with life, while the final question deals with death.
Stephanie Roberts
Aftermath by Amy Lowell
1 I learnt to write to you in happier days,
2 And every letter was a piece I chipped
3 From off my heart, a fragment newly clipped
4 From the mosaic of life; its blues and grays,
5 Its throbbing reds, I gave to earn your praise.
6 To make a pavement for your feet I stripped
7 My soul for you to walk upon, and slipped
8 Beneath your steps to soften all your ways.
9 But now my letters are like blossoms pale
10 We strew upon a grave with hopeless tears.
11 I ask no recompense, I shall not fail
12 Although you do not heed; the long, sad years
13 Still pass, and still I scatter flowers frail,
14 And whisper words of love which no one hears.
Rhetorical Situation and Movement:
The speaker in Amy Lowell’s “Aftermath” recalls the personal sacrifices
made in a past relationship, explaining to her audience—in this case, her former
lover which she identifies and addresses as “you”—what and why she did
certain things for his approval, those of which she initially mistakes as gestures of
love. The octave explicates, in hyperbolic terms, the speaker’s past actions; among
them are learning to write to her lover and sacrificing words and spirit for his praise.
This recollection moves into a deeper reflection concerning the fallout from her actions.
In the present moment, her words signify nothing to her former lover. In the concluding
sestet, the speaker informs him that she has realized the death of their relationship has
approached, as signaled by her fading words in the final lines.
APOPHASIS: line 11, “I ask no recompense”
Although the speaker does not directly ask for any compensation, she provokes pathos among
readers to sympathize with her emotional plight, which in turn moves us to reward her with
our sympathy.
APOSTROPHE: line 1, “I learnt to write to you”
The address to her absent lover gives her the opportunity to describe the progression of
their relationship without interruption. As described in the octave, the communication
between the two appears strained; the speaker gives readers the impression of her willful
submission to her lover. She reclaims some agency in words by erasing the lover’s
presence in the poem.
ANTITHESIS:
line 1 vs. line 14, “learnt to write” vs. “whisper words”
line 4 vs. line 10, “mosaic of life” vs. “a grave of hopeless tears”
line 5 vs. line 9, “Its throbbing reds” vs. “blossoms pale”
lines 3 and 7 vs. lines 4 and 6, “my heart . . . my soul” vs. “mosaic . . .
pavement”
The series of antitheses serve to magnify the larger antithetical situation: the past
versus the present. The speaker delineates the past to be full of life, passion, somewhat
abstract. In sharp contrast, her present situation with her lover is marked by words
connoting death, such as “grave” and “pale” to illustrate the
“concrete” reality of her relationship with him.
AUXESIS: lines 4-5, “its blues and grays, / Its throbbing reds”
To illustrate the passion in her words to her lover, Lowell describes her letters in
color. The palette progresses from a cool tone to a neutral one to a warm tone finally.
CATACHRESIS: lines 2-4, “every letter was a piece I chipped/ From off my heart . . .
/ From the mosaic of life”
Like the relationship, this metaphor is strained as she compares her writing to parts of
her heart, which, in turn, she compares then to a mosaic.
ENTHYMEME: lines 6-10, “I stripped/ My soul for you . . . But now my letters are like
blossoms pale”
In lines 6-8, the speaker describes the extent of her sacrifice to her lover in the past.
Immediately following is the simile comparing her words of love to wilting flowers. This
transition does not explicitly give readers a reason as to why her words are lacking life.
We can only assume that the realization of her sacrifice sparked the change in her
letters.
EPITHET: lines 9 and 13, “blossoms pale” and “flowers frail”
Lowell situates the epithets after the noun to surprise readers. Normally, we think of
blossoms and flowers as budding and living entities. However, adding on “pale’
and “frail” to “blossoms” and “flowers, respectively, derails our
initial impression, creating an antithetical understanding of the speaker’s
situation.
HOMOIOITELEUTON:
lines 2, 3, 6, and 7, “chipped,” “clipped,” “stripped,” and
“slipped”
lines 1, 4, 5, and 8, “days,” “grays,” “praise,” and
“ways”
As alternated in the octave, these verbal patterns shape an ebb and flow quality, which
parallels the rise and fall of the speaker’s relationship with both her love and her
words.
HYPERBOLE: lines 6-8, “I stripped/ My soul for you to walk upon, and slipped/ Beneath
your steps to soften all your ways.”
The exaggeration here amplifies the degree of sacrifice involved in love. Not only does
she strip herself for her lover but she goes as far as to place herself figuratively below
him.
HYPOTAXIS: lines 1-4, “I learnt to write to you in happier days, / And every letter
was a piece I chipped/ From off my heart, a fragment newly clipped/ From the mosaic of
life.”
The addition of subordinate clauses to the main clause creates a mosaic, the central image
that punctuates the first sentence of the poem.
LOOSE SENTENCE: see HYPOTAXIS
PLOCE: lines 12-13, “the long, sad years/ still pass and still I scattered flowers
frail”
“Still” in the first part functions as an adverb, modifying “pass” and
suggesting the continuation of time whereas “still” in the second part functions
as an adjective, modifying the speaker instead as stopped in motion.
SIMILE: line 9, “my letters are like blossoms pale”
The speaker moves from the implicit comparisons (catachresis and hyperbole) in the octave
to a slightly more explicit comparison between her words and dying flowers.
Ashley Walden
20 February 2006
Shakespeare’s Sonnet 116
1 Let me not to the marriage of true minds
2 Admit impediments. Love is not love
3 Which alters when it alteration finds,
4 Or bends with the remover to remove:
5 O, no! it is an ever-fixed mark,
6 That looks on tempests and is never shaken;
7 It is the star to every wandering bark,
8 Whose worth's unknown, although his height be taken.
9 Love's not Time's fool, though rosy lips and cheeks
10 Within his bending sickle's compass come;
11 Love alters not with his brief hours and weeks,
12 But bears it out even to the edge of doom.
13 If this be error and upon me proved,
14 I never writ, nor no man ever loved.
In “Sonnet 116”, Shakespeare dissects the nature of true love. In the first
quatrain, Shakespeare stresses that love is constant and unchanging. The second quatrain
juxtaposes the strength of a “fixed mark” with the turmoil of a
“tempest” to illustrate the steadfastness of love. The final quatrain calls on
metaphor to emphasize that love is immeasurable and time-withstanding. The couplet offers
“proof” of the poem, as Shakespeare vows that if his thoughts are wrong, he will
retract his statements and acknowledge that love does not exist.
Indentification:
1-2: Hyperbation of “let me not to the marriage of true minds/ admit
impediments.” The arrangement of the verb and direct object at the end of the phrase,
with the indirect object at the beginning, stresses the idea of unhindered love.
3-4: Polyptoton is found with the use of alter in “alters when it
alteration…” and remove in “remover to remove.” The structure of the
two phrases follow a verb/ noun/ verb format which creates parison. Additionally, the
equal length of the phrases results in isocolon. Lines 5-7 implore a heavy use of metaphor
to establish the idea of love, thus forming exergasia.
5-6: “Ever-fixed mark” serves as a metaphor, with the mark as the vehicle
and love as the tenor.
7-8: “The star” serves as a metaphor for love. The repetition of the
“o” sound in the phrase “Whose worth’s unknown” creates assonance
as it stresses the last line in the quatrain. Along with lines 5-6, this quatrain forms an
isocolon as the lines first establish a metaphor, then details what action the metaphor
takes.
9-10: The repetition of “love” at the beginning of phrases in both line 9
and line 11 use anaphora as Shakespeare explicates what love does not do. The description
of “rosy lips and cheeks” creates a personification of youth and love, while
“his bending sickle’s compass” personifies time as Shakespeare explains the
action of time.
11-12: “Edge of doom” serves as a metaphor for death.
13-14: Shakespeare uses hyperbole as he exaggerates the notion that if his concept
of love is incorrect, neither his writing nor love exist. Additionally, the final couplet
also invokes logos as it works to systematically establish that this view of love must be
true. The sonnet loosely concludes in a syllogistic progression, as Shakespeare
establishes that if his observations on love are incorrect, then no one has loved.
Overall, the sonnet relies on both logos and pathos. The concept of timeless, unchanging
love appeals to the emotional aspect of the reader. However, Shakespeare also evokes logos
as he logically elucidates what encompasses love and offers proof of the affection.
Through attention to structure, metaphor, and audience appeal, Shakespeare’s
“Sonnet 116” scrutinizes the ideology of love.
Tiffany Lynn Carabello
20 February 2006
Sonnet 116
William Shakespeare
Let me not to the
marriage of true minds
Admit impediments. Love is not love
Which alters when it alteration finds,
Or bends with the remover to remove:
O no! it is an ever-fixed mark
That looks on tempests and is never shaken;
It is the star to every wandering bark,
Whose worth's unknown, although his height be taken.
Love's not Time's fool, though rosy lips and cheeks
Within his bending sickle's compass come:
Love alters not with his brief hours and weeks,
But bears it out even to the edge of doom.
If this be error and upon me proved,
I never writ, nor no man ever loved.
1. Love, can never be changed or choosen, it can withstand anything
2. alliteration
3. polyptoton
4. chiasmus
5. parenthesis
6. metaphor, for a sea mark used for navigation
7. metaphor, the North Star
8. assonance
9. Personification, Time being Father Time, His time
10. Love, afterall maybe able to be measured
11. allusion, surviving the Judgment Day
Alex
Barbee
SONNET MXVI
W. Shakespeare
1. Let me not to the marriage of true minds
ALLITERATION-“marriage
of true minds”
2. Admit impediments.
Love is not love
ANTITHESIS- “Admit
impediments”, POLYPTOTON/LITOTE- “Love
is not Love”
3. Which alters when it alteration finds,
POLYPTOTON-
“Line 3”
4. Or bends with the remover to remove:
METABOLE- “Or
bends with the remover to remove:”
5. O no! it is an ever-fixed mark
APOSTROPHE-“O
no!”
6. That looks on tempests and is never shaken;
PARADOX-“line
6…”
7. It is the star to every wandering bark,
METAPHOR-“line
7…”
8. Whose worth's unknown, although his height be taken.
PERSONIFICATION-“although
his height be taken”
9. Love's not Time's fool, though rosy lips and cheeks
METAPHOR-“Love’s
not Time’s fool”
10. Within his bending sickle's compass come:
ASYNDENTON-“compass
come” or ALLITERATION???
11. Love alters not with his brief hours and weeks,
ANTITHESIS-
“Line 11”
12. But bears it out even to the edge of doom.
ALLITERATION-
“edge of doom” or ANTITHESIS
13. If this be error and upon me proved,
EPIMONE-“Line
13”
14. I never writ, nor
no man ever loved.
EXCUSCITATIO-“I
never writ, nor no man ever loved.”
When a marriage is consummated the priest
will most often ask if there is any cause or just impediments, then speak now or forever
hold your peace. This alliteration of that phrase will lead readers of the sonnet to
believe that this is a piece of love. You must then realize when you read the very next
line, line three, you begin to realize; what love fails? Well, he must be speaking of a
honorable love and also a lustful love. The lustful view appeals to the bodies’
hormonal driven senses. The honorable view is one that is dedicated and will not bend or
break, “But bears it out even to the edge of doom” (line 12). Understanding this
idea of whole mind and spirit, Bill Shakespeare recognized that if he is wrong that he
puts his name on the line with the lines thirteen and fourteen. He is saying, “If I’m
wrong than I haven’t written ever, and no man has ever loved anyone”, which is
downright impossible on both accounts.
SONNET
SQUEEZING (2006) begins here.
