Sonnet 46 Figurative Language

Shakespeare examines love in two different ways in Sonnets 116 and 130. In the first, love is treated in its most ideal form as an uncompromising force (indeed, as the greatest force in the universe); in the latter sonnet, Shakespeare treats love from a more practical aspect: it is viewed simply and realistically without ornament. Yet both sonnets are justifiable in and of themselves, for neither misrepresents love or speaks of it slightingly. Indeed, Shakespeare illustrates two qualities of love in the two sonnets: its potential and its objectivity. This paper will compare and contrast the two sonnets by Shakespeare and show how they represent two different attitudes to love.

It can show fantasy, darkness and it is possible that the old man in the story never existed. It is the capacity of the narrator’s imagination which makes him creates the old man. It all seems that nothing that he says happens in real life. For instance, the old man eyes, heartbeat, the night, the police, and so on, are all fruits of his fantasy. The eyes could represent his psychological sin and guilt, and the old man depicts his own personality. He wants to get rid of the eyes because it has a darkness sin which does not allow him to have a good sanity. The narrator separates the old man’s personality to his eye, and in the end, he assumes by getting rid of the eyes he could still love the man and live in peace with his mental sanity. However, this strategy does not work out well and turned against him because does not only kill the eyes but also the old

The poem’s structure as a sonnet allows the speaker’s feelings of distrust and heartache to gradually manifest themselves as the poem’s plot progresses. Each quatrain develops and intensifies the speaker’s misery, giving the reader a deeper insight into his convoluted emotions. In the first quatrain, the speaker advises his former partner to not be surprised when she “see[s] him holding [his] louring head so low” (2). His refusal to look at her not only highlights his unhappiness but also establishes the gloomy tone of the poem. The speaker then uses the second and third quatrains to justify his remoteness; he explains how he feels betrayed by her and reveals how his distrust has led him

“For That He Looked Not upon Her” is written in the form of an English sonnet which helps to illustrate the speaker’s desperation in a conversational tone. The first quatrain develops an idea that the speaker does not wish to look at a specific woman. The poem is consistent iambic pentameter throughout which makes it seem as though the speaker is conversing with the reader. This creates an ambiguous tone in the beginning, for the reader does not know why he will not look towards this woman. The third line states, “And that mine eyes take no delight to range” (3). By using the spondee of “mine eyes” the speaker puts an emphasis on his broken heartedness, therefore, answering the question as to why the speaker refuses to look her direction. The second quatrain then addresses that the speaker wishes to look at his lover but is afraid of the repercussions. In this quatrain Gascoigne creates a slant rhyme with the words “bait” and “deceit” to enact the speaker’s tone of distrust (6,8). The speaker fights against his inner

The diction used by the speaker illustrates the pain and misery he endures whenever he sees the “gleams” on her face (Line 4). As the speaker tries to avoid this woman’s beauty is forced by temptation to look upon her face and he is reminded of the same pain and misery he must avert. In the couplet of this English sonnet the speaker displays his method of avoiding his once beloved. The speaker claims, “so that I wink or else hold down my head, because your blazing eyes my bale have bred” (Lines 13-14). This significant quote from Gascoigne’s saddened and pain stricken speaker sheds light as to how and why he continuous tries to evade the source of his misery.

Gascoigne uses three quatrains and a couplet to create the English sonnet “For That He Looked Not upon Her.” The first quatrain introduces the reader to the speaker and his issues with his beloved, while also describing the speaker’s appearances after being heartbroken. In the second quatrain, the speaker builds onto his accounting of suffering and sorrow with an analogy of a “mouse” (Gascoigne

“For That He Looked Not upon Her” is an English sonnet written in the sixteenth century. Like all English sonnets, this is written in iambic pentameter, which creates an ironically conversational and light tone for a topic that is focused on restricted lust, broken heartedness, and pain. The first quatrain of Gascoigne’s sonnet introduces the image of the speaker keeping his head low, ashamed, refusing to glimpse the face of the woman he is speaking to. To help her understand his actions, the second quatrain compares the speaker’s situation to that of a mouse going after “trustless bait” (6). Like a mouse trap, the speaker knows the dangers the woman holds, yet pursued her regardless. The third quatrain again uses metaphor, explaining how, like a fly attracted to fire, the speaker realizes the consequences of his lust

Object there was none. Passion there was none. I loved the old man. He had never wronged me. He had never given me insult. For his gold I had no desire. I think it was his eye! yes, it was this! He had the eye of a vulture --a pale blue eye, with a film over it. Whenever it fell upon me, my blood ran cold; and so by degrees --very gradually --I made up my mind to take the life of the old man, and thus rid myself of the eye forever”(41).

His “unlined” face has yet to have the heat of a forge baking the sweat off his face and cracking the skin transitioning him into a man. A man that needs to learn the craft of forgetting the burdens everyday life gives him. The line, “eyes amber as the resin from trees too young to be cut.”(ll 10-11). reinforces that he has to grow and be ‘seasoned’ before he is truly ready to make the transition and tackle the craft of drinking until numb. These lines like an artist waiting to sculpt their stone into something else. The reference of the eyes gives a relation to the difference of her father’s young and hopeful eyes that have not seen what her grandfathers have. This is important as it gives the wisdom and long struggle that separates the apprentice from the master. Eyes have also been described as windows to the soul and the way she relates her father’s eyes as young and translucent that have yet to meet the destructive force that well in her grandfather’s eyes.

Rather it is the old man’s that is so unsettling. Any time the eye looked upon him his. It is that eye by which he is consumed and that eye that sends him into madness. It pushes him to wish to never have to look upon, or be looked upon by, that eye again. His solution, in what seems a rational choice to him, is to kill the old man. With a similar precision as the Montresor took in “The Cask of Amontillado”, the man in “The Tell-Tale Heart” has devoted himself to the perfect method to dispatch the old man.

The symbolism throughout “The Tell-Tale Heart” helps to increase the insanity of the already deranged narrator. The old man’s eye is an important symbol that drives the narrator to killing the elderly man. The narrator describes the eye by saying “He had the eye of a vulture --a pale blue eye, with a film over it. ”(Poe). It is said the eye is the window to the soul, however the old man’s eye is filmy as if covered by a vail.

Given the creature is self-destruction, the presence of the narrator illustrates one’s contentment in giving in to the process. Using the phrase “my heart” (10) creates the connection between the individual and the destruction. Without the connection, one could distance oneselves from their exterior and their interior. One can have power over this self-hatred; however, “I” is simply watching as the creature ruins the core of the body. The narrator tries to appeal to the creature by calling it “friend,” (6) but this is not enough for it to stop eating the heart.

Another value from the story is that jealousy was not acceptable back then, as Noyes says: “His eyes were hollows of madness”. This metaphor is about the

The usage of literary conceit by Shakespeare suggests that conflicting emotions are because of the separation from his lover. Deriving from Hippocrates theory,

The speaker starts the first quatrain criticizing his ‘mistress’. He spends each line comparing her to something else. The first line is a simile “My mistress eyes are nothing like the sun”, her eyes are most likely brown or dull, ordinary. The first line also follows the basic iambic pentameter form, in the masculine sense ending with a stressed syllable, “my MIStress EYES are NOthing LIKE the SUN”. In the second line there is a break from the norm, where instead of the usual iambic pentameter, the stress falls on the first syllable “COral”. The second line “Coral is far more red than her lips red” is suggesting that her lips are not red and that women’s lips who are bright