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Tuesday, March 26, 2013

Shakespeare's Sonnet No- 18

Sonnet 18 is arguably the most famous of the sonnets, its rise line competitive with Romeo, Romeo, wherefore art thou Romeo? in the long list of Shakespeares quotable quotations. The gender of the addressee is not explicit, tho this is the first sonnet after the so-called procreation sonnets (sonnets 1-17), i.e., it evidently marks the place where the poet has abandoned his earlier push to impart the fair lord to have a child. The first both quatrains focus on the fair lords peach tree: the poet attempts to compare it to a summers day, entirely shows that there can be no such comparison, since the fair lords timeless beauty far surpasses that of the fleeting, inconstant season.
On the surface, the poem is simply a statement of praise more or less the beauty of the beloved; summer tends to unpleasant extremes of windiness and heat, but the beloved is always mild and temperate. Summer is incidentally personified as the eye of heaven with its gold complexion; the resource passim is simple and unaffected, with the darling buds of May giving way to the perfect(a) summer, which the speaker promises the beloved.

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The language, too, is comparatively unadorned for the sonnets; it is not sonorous with alliteration or assonance, and nearly every line is its experience self-contained clauseĆ¢€"almost every line ends with some punctuation, which effects a pause.
Here the theme of the ravages of time over again predominates; we see it especially in line 7, where the poet speaks of the inevitable mortality of beauty: And every fair from fair sometime declines. only if the fair lords is of another sort, for it shall not fade - the poet is eternalizing the fair lords beauty in his verse, in these eternal lines. Note the financial imagery (summers lease) and the use of anaphora (the repetition of opening words) in lines 6-7, 10-11, and 13-14. Also note that May (line 3) was an early summer month in Shakespeares time, because England did not adopt the Gregorian calendar until 1752.
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