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Shakespeare’s sonnets and the essence of verse

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THE MINISTRY OF HIGHER AND SECONDARY SPECIAL EDUCATION OF UZBEKISTAN KARSHI STATE UNIVERSITY THE FACULTY OF FOREIGN LANGUAGES THE CHAIR OF THE ENGLISH LANGUAGE AND LITERATURE 5120100- PHILOLOGY AND TEACHING LANGUAGES ( ENGLISH LANGUAGE ) On the theme: Shakespeare’s sonnets and the essence of verse Written by: Bobonazarova Nargiza Shomirza qizi Scientific supervisor : Sr. teacher Nazarov A.A. “ Recommended to defence ” The dean of Foreign Languages philology Faculty _______ Phd Aliqulov A.A. “_____”____________ 201 5 Karshi 201 5. C O N T E N T S 1

Introduction …………………………………………………... 3 Chapter I . W. Shakespeare’s life and career….......................... 8 1.1. The Renaissance period in English Literature……………. 9 1.2. The General facts of writer’s life…………………………. 14 1.3. His career as a dramatist…………………………………... 19 Chapter II . Shakespeare’s literary career as a sonneteer……… 27 2.1. Shakespeare and the essence of verse…………………… 28 2.2 . Latinity and desire in Shakespeare sonnets………………. 37 2.3 . The use of literary devices in Shakespeare sonnets………. 45 2.4. Flesh colors and Shakespeare’s sonnets………………….. 55 Conclusion ………………………………………………… …. 62 Bibliography …………………… ……………………………….... 65 INTRODUCTION On December 10, 2012 President of the Republic of Uzbekistan Islam Karimov signed a decree “On measures to further improvement of foreign

language learning system”. 1 It is noted that in the framework of the Law of the Republic of Uzbekistan “On education” and the National Programme for Training in the country, a comprehensive foreign languages’ teaching system, aimed at creating harmoniously developed, highly educated, modern-thinking young generation, further integration of the country to the world community, has been created. During the years of independence, over 51.7 thousand teachers of foreign languages graduated from universities, English, German and French multimedia tutorials and textbooks for 5-9 grades of secondary schools, electronic resources for learning English in primary schools were created, more than 5000 secondary schools, professional colleges and academic lyceums were equipped with language laboratories

In order to increase teaching standards in distant rural areas, the higher educational institutions are allowed targeted admission of people living in distant areas to foreign language programs on the condition that they will oblige themselves to work in the acquired specialty at their residence area for at least 5 years after graduation. The decree also envisages 30% salary increase for foreign language teachers in rural areas, 15% increase for those in other areas. Actuality of the theme. English literature is one of the important component parts of the world literature. Its representations contributed to the literature with their works. The theme of qualification paper deals with literary activity of well-known English sonneteer W.Shakespeare and his sonnets. Shakespeare sonnets are ver

The aim and tasks of the qualification paper. The aim of the work is to present the overview of Shakespeare’s sonnets.The following tasks have been settled so that to achieve this aim: - To show William Shakespeare’s as a great poet, his poetic world -To investigate the ties between the author’s own life and relationships of his life to the sonnets -To study literary activity of a famous English sonneteer and playwright W.Shakespeare, analyses his sonnets. To achieve this aim some sonnets of the poet are studied. The object of the qualification paper is Shakespearean Sonnets. The subject matter of the work is different approaches about Shakespeare’s life and his creative activity. Methods of research. Comparative and stylistic methods have been used in this qualification paper. The Metodo

Scientific novelty of the work. We investigated W.Shakespeare as a sonneteer,his career as a sonneteer is very popular. The following results of the theme shows its scientific novelty: there has been found difference between Shakespearean and Petrarchan sonnets,there has been investigated the usage of Latinity and describing as an opposition between colors,a contrast between the fairness of the young man and the blackness of the dark lady in Shakespeare’s sonnets. Theoretical and practical value of the work. The result of the qualification paper can be used as a necessary while studying the pecularities of Shakespeare’s Sonnets and during a comparative analysis of texts in Old English and Modern English.In this qualification paper we have given an important and theoretical information abo

verse and also the difference between Petrarchan and Shakespearean Sonnets. In the second chapter we have given information about the use of Latinity and expressing of desire in Shakespeare’s sonnets. In the third of paragraph we wrote about the use of literary devices in Shakespeare’s Sonnets. In the last paragraph we have given information about flesh colors, an opposition between colors, a contrast between the fairness of the young man and the blackness of the dark lady in Shakespeare’s sonnets. In the conclusion the results of the qualification paper are generalized. In Bibliography we gave the list of used literature. Total amount of the work is 67 pages. 7

CHAPTER I W.Shakespeare’s life and career This chapter aimed at studying W.Shakespeare’s autobiography and literary career. This chapter begins with the general characteristics of English literature at the end of XVI t h and the beginning of XVII t h century, the period in which the writer lived and created his works. Shakespeare lived in the Renaissance period. It was a cultural artistic movement in England. XVI t h century marks the flowering of the renaissance. Major representatives of renaissance period are the following Francis Bacon, John Donne,Thomas More,Shakespeare and others.A poet and playwright William Shakespeare is the favorite author of millions of readers all over the world. No other writer's plays have been produced so often and read so widely in so many different cou

1.1. The Renaissance period in English literature The English Renaissance was a cultural and artistic movement in England dating from the late XV t h to the early XVII t h century 3 . It is associated with the pan – European renaissance that is usually regarded as beginning in Italy in the late XIV t h century.Like most of northern Europe, England saw little of these developments until more than a century later. The beginning of the English Renaissance is often taken, as a convenience, to be 1485, when the Battle of Bosworth Field ended the wars of the Roses and inaugurated the Tudor Dynasty. Renaissance style and ideas, however, were slow to penetrate England, were slow to penetrate England and the Elizabethan era in the second half of the XVI t h century is usually regarded as the heigh

other countries in the late 1400's and ended early in the XVII th century.The word "Renaissance" comes from the Latin word "rinascere" and means rebirth. The Renaissance was the period when European culture was at its height. At that time great importance was assigned to intellect, experience, scientific researches. The new ideology proclaimed the value of human individuality. This new outlook was called Humanism. The humanists were scholars and artists who studied subjects that they believed would help them better understand the problems of humanity. These subjects included literature and philosophy. The humanists considered that the civilizations of ancient Greece and Rome had excelled in such subjects and could serve as models. During the Middle Ages the most importa

At that period new types of literature were imported from the European continent. Chief among these were the sonnet, imported by Wyatt and Surrey from Italy, where it had been perfected by Francis Petrarch; and the essay, imported by Sir Francis Bacon from France. Other verse forms were also borrowed from Italian and French. The native drama continued to develop and gain popularity. Under the reign of Elizabeth I (1558- 1603), order was restored, and England entered upon her most glorious age. Elizabeth was only twenty-five when she assumed the throne, never married, and ruled wisely and well for forty-five years. Interested in education, Queen Elizabeth established one hundred free grammar schools in all parts of the country. These schools were open to both sexes of all ranks. In 1579, G

Ben Jonson and other more than a dozen first-rate playwrights also created their skillful dramas at that period. Blank verse, introduced into the language by Surrey, became the main form for writing tragedies and comedies. In 1600, when the new century began, Elizabeth was an aging queen not in the best of health. She was childless. After her death, in 1603, King James of Scotland, the son of Mary, Queen of Scots, became the king of England. The Decline of the Renaissance. James I, the first Stuart king, had little first-hand knowledge of England. Elizabeth had managed to maintain religious balance between Protestants and Catholics, but under the Stuarts that balance was lost. Religious and political unrest was growing. At that period a number of young Cavaliers, loyal to the king, wrote a

early 1500's. William Shakespeare and Edmund Spenser wrote sonnet sequences. A sonnet sequence is a group of sonnets based on a single theme or about one person. Narrative poetry. A narrative poem tells a story. Shakespeare's "Venus and Adonis" and Spenser's "The Faerie Queene" are the examples of narrative poetry. At that period new types of literature were imported from the European continent. Chief among these were the sonnet, imported by Wyatt and Surrey from Italy, where it had been perfected by Francis Petrarch; and the essay, imported by Sir Francis Bacon from France. Other verse forms were also borrowed from Italian and French. The native drama continued to develop and gain popularity. Interested in education, Queen Elizabeth established one hundred free

1.2. The General facts of writer’s life William Shakespeare was an English poet, playwright and actor, widely regarded as the greatest writer in the English language and the world’s preeminent dramatist. He is often called England’s national poet and the “Bard of Avon” 5 His extant works, including some collaborations, consist of about 38 plays,154 sonnets and a few other verses, of which the authorship of some uncertain William Shakespeare was the son of John Shakespeare, a successful glover and alderman originally from Snitterfield, and Mary Arden, the daughter of an affluent landowning farmer. He was born in Stratford-upon-Avon and baptised there on 26 April 1564. His actual birthdate remains unknown, but is traditionally observed on 23 April, St George's Day. This date, which can

baptised 2 February 1585.Hamnet died of unknown causes at the age of 11 and was buried 11 August 1596. After the birth of the twins, Shakespeare left few historical traces until he is mentioned as part of the London theatre scene in 1592, and scholars refer to the years between 1585 and 1592 as Shakespeare's "lost years".Biographers attempting to account for this period have reported many apocryphal stories. According to professor Nicholas Roweview-point,Shakespeare’s first biographer, recounted a Stratford legend that Shakespeare fled the town for London to escape prosecution for deer poaching in the estate of local squire Thomas Lucy. Shakespeare is also supposed to taken his revenge on Lucy by writing a scurrilous ballad about him.Another XVIII th century story has Shakespea

Lord Chamberlain's Men, a company owned by a group of players, including Shakespeare, that soon became the leading playing company in London. After the death of Queen Elizabeth in 1603, the company was awarded a royal patent by the new king, James I, and changed its name to the King's Men. In 1599, a partnership of company members built their own theatre on the south bank of the River Thames, which they called the Globe. In 1608, the partnership also took over the Blackfriars indoor theatre. Records of Shakespeare's property purchases and investments indicate that the company made him a wealthy man. In 1597, he bought the second-largest house in Stratford, New Place, and in 1605, he invested in a share of the parish tithes in Stratford. Some of Shakespeare's plays were publ

company constructed the Globe Theatre there. By 1604, he had moved north of the river again, to an area north of St Paul's Cathedral with many fine houses. There he rented rooms from a French Huguenot called Christopher Mountjoy, a maker of ladies' wigs and other headgear. Rowe was the first biographer to pass down the tradition that Shakespeare retired to Stratford some years before his death; but retirement from all work was uncommon at that time, and Shakespeare continued to visit London.In 1612 he was called as a witness in a court case concerning the marriage settlement of Mountjoy's daughter, Mary. In March 1613 he bought a gatehouse in the former Blackfriars priory; and from November 1614 he was in London for several weeks with his son-in-law, John Hall. After 1606–1607,

against moving his bones, which was carefully avoided during restoration of the church in 2008 Good frend for Iesus sake forbeare, To digg the dust encloased heare. Bleste be ye man spares thes stones, And curst be he moves my bones. Modern spelling: "Good friend, for Jesus' sake forbear," "To dig the dust enclosed here." "Blessed be the man that spares these stones," "And cursed be he who moves my bones." Sometime before 1623, a funerary monument was erected in his memory on the north wall, with a half-effigy of him in the act of writing. Its plaque compares him to Nestor, Socrates, and Virgil. In 1623, in conjunction with the publication of the First Folio, the Droeshout engraving was published. Shakespeare has been commemorated in many statues and mem

Shakespeare changed the nature of drama in England. Arriving in London in the last decade of the sixteenth century, Shakespeare began his play writing career by adapting the forms of already – successful plays, plays about historical characters (both English and Roman), the Senecan “Tragedy of Blood”, Romantic Comedy and plots centering on the Machiavellian villain. From the very first, however, Shakespeare transformed everything he touched: characters developed from the elementary stock characters of earlier traditions – such as the young Hero and Heroine, the stern Father and the Tyrannical Ruler who must be overthrown – into recognizable human beings. “All the world’s a stage, and all the men and women merely players: they have their exits and their entrances; And one man in his time p

Shakespeare’s early classical and Italianate comedic, containing tight double plots and precise comic sequence, give way in the mid 1590 s to the romantic atmosphere of his most acclaimed comedies. A midsummer Night’s Dream is a witty mixture of romance, fairy magic and comic lowlife scene. Shakespeare’s next comedy, the equally romantic Merchant of Venice, contains a portrayal of the vengeful Jewish moneylender Shylock, which reflects Elizabethan views but may appear derogatory to modern audiences. In the early XVII t h century, Shakespeare wrote the so-called “problem plays” Measure for Measure, Troilus and Cressida, and All’s well that ends well and a number of his best known tragedies. Many critics believe that Shakespeare’s greatest tragedies represent the peak of his art. They are H

The first edition of Shakespeare's collected plays appeared in 1623. Shakespeare's works are truly immortal, and will retain their immortality as long as the human race exists. He is a true classic; every new generation finds something new and unperceived in his works. His popularity all over the world grows from year to year. More than four hundred years after his birth the plays of Shakespeare are performed even more often than they were during his lifetime. They are performed on the stage, in the movies, and on television. They are read by millions of people all over the world. Shakespeare's Plays. Most scholars agree that there exists 38 plays written by Shakespeare. Traditionally, Shakespeare's plays into three group;comedies,histories,tragedies.All of the works of th

Athens", "Anthony and Cleopatra", "Coriolanus"), which made him truly immortal. Even the comedies of the period "All's Well That Ends Well" and "Measure for Measure" are more disturbing than amusing. That is why they are often called "problem" comedies or "bitter" comedies.” Pericles” represents Shakespeare's drama, which is generally serious in tone but with a happy ending. The fourth period (1609-1613). During this final period Shakespeare wrote tragedies ("Cymbeline", "The Winter's Tale". "The Tempest") and the history "Henry VIII". (Some critics state, that the history "Henry VIII" is written together with John Fletcher).The last years of Shakespeare's career as a playwright are

more natural poetry. He increasingly tuned his metaphors and images to the needs of the drama itself. Shakespeare's standard poetic form was blank verse, composed in iambic pentameter. In practice, this meant that his verse was usually unrhymed and consisted of ten syllables to a line, spoken with a stress on every second syllable. The blank verse of his early plays is quite different from that of his later ones. It is often beautiful, but its sentences tend to start, pause, and finish at the end of lines, with the risk of monotony. After Hamlet, Shakespeare varied his poetic style further, particularly in the more emotional passages of the late tragedies. The literary critic A. C. Bradley described this style as "more concentrated, rapid, varied, and, in construction, less regular

Shakespeare's work has made a lasting impression on later theatre and literature. In particular, he expanded the dramatic potential of characterisation, plot, language, and genre.Until Romeo and Juliet, for example, romance had not been viewed as a worthy topic for tragedy. Soliloquies had been used mainly to convey information about characters or events; but Shakespeare used them to explore characters' minds. His work heavily influenced later poetry. The Romantic poets attempted to revive Shakespearean verse drama, though with little success. Critic George Steiner described all English verse dramas from Coleridge to Tennyson as "feeble variations on Shakespearean themes." Shakespeare influenced novelists such as Thomas Hardy, William Faulkner, and Charles Dickens. 8 The A

Shakespeare was not revered in his lifetime, but he received his share of praise.In 1598, the cleric and author Francis Meres singled him out from a group of English writers as "the most excellent" in both comedy and tragedy. And the authors of the Parnassus plays at St John's College, Cambridge, numbered him with Chaucer, Gower and Spenser. In the First Folio, Ben Jonson called Shakespeare the "Soul of the age, the applause, delight, the wonder of our stage", though he had remarked elsewhere that "Shakespeare wanted art". A recently garlanded statue of William Shakespeare in Lincoln Park, Chicago, typical of many created in the XIX th and early XX th century. Between the Restoration of the monarchy in 1660 and the end of the XVII th century, classical ideas we

spectacles on a grand scale. The playwright and critic George Bernard Shaw mocked the cult of Shakespeare worship as "bardolatry". He claimed that the new naturalism of Ibsen's plays had made Shakespeare obsolete. The modernist revolution in the arts during the early XX th century, far from discarding Shakespeare, eagerly enlisted his work in the service of the avant-garde. The Expressionists in Germany and the Futurists in Moscow mounted productions of his plays. Marxist playwright and director Bertolt Brecht devised an epic theatre under the influence of Shakespeare. The poet and critic T. S. Eliot argued against Shaw that Shakespeare's "primitiveness" in fact made him truly modern. Eliot, along with G. Wilson Knight and the school of New Criticism, led a movement

young man” and “the dark lady”.The muses are used to break down the sonnets into three sequances,as follows 1.The Fair Youth Sonnets Sonnets 1-126 of his sonnets are adressed to the fair youth with whom the poet has a deep and loving friendship 2.The Dark Lady Sonnets Sonnets 127-152 are addressed to the dark lady .The speaker introduces the woman by explaining that her beauty is unconventional. 3. The Greek Sonnets Final two sonnets are very different and draw upon the Roman myth of Cypid,to whom the poet has already compared his muses. Scholars and critics have made many attempts to discover all the mysteries of Shakespeare's sonnets, as they may shed light on his life, but generally to no avail. It is important to remember that Shakespeare's sonnets were written at a time when s

and subordinates all other relationships to it. The essential action of the artist in creating the experience of an audience is the one that in grammar is made by indicators of relationship like “although,” “but,” “after,” “because,” “however.” In literature such indicators of relationship tell the reader that he is not in the borderless world outside art where he himself has always to work upon what he perceives, to arrange it around a focal point chosen and maintained by himself. Syntactic organization tells the reader that he is dealing with what we are likely to label “truth,” experience sorted, classed, and rated, rather than with “what is true,” the still to be sorted data of “real” experience. 9 When an artist focuses his audience’s mind and distorts what is true into a recognizable

know what cannot be known and that what we know is the unknowable thing we want to know and not something else. I have tried to demonstrate that in the sonnets Shakespeare copes with the problem of the conflicting obligations of a work of art by multiplying the number of ordering principles, systems of organization, and frames of reference in the individual sonnets. Shakespeare’s multiplication of ordering systems is typically Shakespearean in being unusual not in itself but in its degree. The principle of multiple orders is a defining principle of verse in general. Although “verse” and “prose” are not really precise terms, verse is ordinarily distinguishable from prose in that it presents its materials organized in at least two self-assertive systems at once: at least one of meaning and a

not known whether the poems and their characters are fiction or autobiographical,notably A.L.Rowse have attempted to identify the characters with historical individuals.Fair youth is the unnamed young man to whom sonnets 1-126 are addressed.Some commentators,nothing the romantic and loving language used in this sequence of sonnets,have suggested a sexual relationship between them;others have read the relationship as platonic love. The earliest poems in the sequence recommended the benefits of marriage and children.With the famous sonnet 18 (“shall I compare thee to a summer’s day”)the tone changes dramatically towards romantic intimacy.Sonnet 20 explicity laments that the young man is not woman.Most of the subsquent sonnets describe the ups and downs of the relationship,culminating with an

distinguishes itself from the Fair Youth sequence by being overtly sexual in its passion.Among these,sonnet 151 has been characterised as “bawdy” and is used to illustrate the difference between the spiritual love for the fair youth and the sexual love for the Dark Lady.The distinction is commonly made in the introduction to modern editions of the sonnets.The Dark Lady is so called because the poems make it clear that she has back black hair and dun coloured skin.As with the Fair Youth,there have been many attempts to identify her with a real historicalindividual.Mary Fitton,Emilia Lanier and others have been suggested.The Rival Poet’s identity remains a mystery;among the varied candidates are Christopher Marlowe,George Chapman,or,an amalgamation of several contemporaries. 1 0 However,ther

up of two tercets .The octave presents an idea to be contrasted by the ending sestet.The particulr quatrains and the tercets are divided by change in rhyme.Petrarchtypically used an ABBA ABBA pattern for the octave,followed by either CDE CDE or CDC DCD rhymes in the sestet.( the symmetries (ABBA CDC) of these rhyme schemes have also been rendered in musical structure in the late Xxth century composition Scrivo in Vento inspired by Petrarch’s sonnets work together to emphasize the idea of the poem:the quatrain presents the theme and the second expands on it. The repeated rhyme scheme within the octave strenghtens the idea.The sestet,with either two or three different rhymes,uses its first tercet to reflect on the theme and the last to conclude.William Shakespeare utilized the sonnet in love

c d d c d c. The final two lines cannot end in a couplet (given the couplet was never used in Italy or by Petrarch.)The change in both rhyme pattern and subject matter takes place by creation of two distinct stanzas(the octave and the sestet).The change in rhyme and subject happen at the volta,the ninth line of poem (the first line of the second stanza).The Shakespearean sonnet or English sonnet is very different from the Petrarchan sonnet.While the Shakespearean sonnet consists of fourteen lines (like Petrarchan sonnet),the lines are divided into stanzas very differently.The sonnet is composed using three quatrains (three stanzas consisting of four lines each) and a concluding couplet (a two line stanza).The rhyme scheme of this sonnet is alternating,throughout the quatrains,and in a rhy

metaphor and exaggerated comparison found in Petrarch’s work by offering an English sonnet describing the very ungoddess like nature of his dark mistress.Conversely,Petrarch’s work is rich in imagery and not spare a syllable in its glorification and deification of the object of his desires,Laura.As can be seen in sonnet 292 from the Canzoniere,the extensive use of metaphor and the idealization of Petrarch’s female subject are characteristic of the Petrarchan sonnet.The first major difference between the two sonnets is the sonnet form used.Petrarch’s sonnet 292 is writtenin the 14-line Italian sonnet form consisting of an eight line octave and a six line sestet.The main characteristic of the Petrarchan sonnet form is its two part structure.This is achieved by splitting the eight line octave

on to describe his love’s angelic smile,which together with her golden hair,turns the earh to Paradise. He continues to the end of the octave,indicating that all of thes lovely attributes,”have come to dust;no life,no sense.His love has died and so have paradise and his exquisitely uncommon existence.The woman,whom Petrarch’s narrator had professed his love and passion for in the previous 291 sonnets of the Canzoniere,was no more.Petrarch’s tercets go on in metaphor to say the narrator has lost his guiding light and that the “dismasted ship” that is his life,has been “wracked by the storm “ of love and loss.He declares “let there be no more love songs! The dear spring/of my accustomed art has been drained dry”,indicating that he shall write no more;his lyre dissolved in his flood of tears.

blazon,comparing his lady’s features to the treasures of nature.Their similarities part,though,in their description of their subject.Petrarch appears much more idealistic and lofty in his narrative,making his woman into an angelic goddess,while Shakespeare takes a much more honest,realistic approach,recognizing the beauty a person can have within them,not just aesthetically.At one point in sonnet 130 Shakespeare actually comes right out and states that his lady is not a goddess:” I grant I never saw a goddess go,/my mistress when she waks,treads on the ground”By offering that is not goddess like,it follows that she cannot be a goddess.Petrarch’s attitude is based in in the tradition of courtly love.Where the poetry of love is concerned,there certainly could be no better example of differin

reading the sonnets in which Shakespeare’s training in Latin emerges as part of the poems’ basic texture, as their way of hearing words and of approaching meaning through that hearing. When Shakespeare tells the beloved young man that “thou art all my art, and doost aduance / As high as learning, my rude ignorance” (78. 13–14), “thou art” wittily doubles “my art.” The first “art” is native in origin, the second Roman (Lat. ars , “art” or “skill”); juxtaposed, they bring together being and poetry, in order to reinforce the poem’s argument that the beloved gives Shakespeare’s verse its entire substance and being, rather than its mere “stile” (78. 12). Typical here is how Shakespeare activates the pun through the line’s internal symmetries, so that the two “arts,” one the poet’s and the other

Scrupulously mirroring the mere rhymers’ invocation (Lat. in-vocare , “to call”) of their muses, the poet instead “calls on” his new and English muse. Similarly, deriving from the Latin aeternus , the “eternal” numbers of immortal poetry receive a vernacular equivalent in “out-liue long date,” a modest and even creaky formulation that nonetheless precisely captures the distinction, alive in Latin, between a perpetual endurance in time and an eternal elevation above time. Sonnet 44 opens by turning the distance between the poet and the young man into injury: If the dull substance of my flesh were thought, Injurious distance should not stop my way, For then dispight of space I would be brought, From limits farre remote, where thou doost stay, No matter then although my foote did stand Vpon t

Immaterial and material, distance does injury by working against itself even as it works against the poet/lover. Shakespeare locates something of this paradox in the word itself:distance,rooted in the latin dis-and stare (to stand or to stay ),is spesifically a standing or staying apart. The poem registers that parting in lines 4-6 in the difference between the foot’s standing and friend’s staying; accordingly the erotically charged distance between poet and friend is figured as a standing apart from a standing. Extending the pun deeper into the poem’s syntax, Shakespeare makes distance the state of difference, also, between two moods of the same verb: in “did stand” (l. 5), the foot’s removal from the beloved is marked as a di[d]stance and as a distance from “doost stay” (l. 4).The poem i

thou doost stay”,part of the force of the formulation is that, in analogy with distance as a standing apart,”dispight“ momentarily splits the separating “spight” from itself. “Dispight,” that is, gently reverses the work of“distance” by making the distance that spitefully separates loving poet and beloved friend stand apart from itself, exactly as a “dispight of space.” The adverbial phrase thus provides, as a kind of pulse inside the syntactic meaning, a curiously apposite de ﬁ nition of “distance.” Distance itself is a “dispight of space,” a contempt for space in the sense of being the agent, as it were, of moving across itself by already including the space it semantically refers to. Just as the poem has materialized distance against itself (as it sown material obstacle), so too, throug

matter enabled by the play of Latin and English necessarily suggests another possibility: if earth is that which stands under the foot (as, therefore, its “substance”), ﬂ esh would seem not itself to be substance,but rather that under which substance stands. The suggestion is already present in line 1, in fact, in the two available ways of reading the genitive phrase “of my ﬂ esh”: on the one hand, ﬂ esh is, as matter, simply the equivalent of “dull substance”; on the other, ﬂ esh is exactly that possessed of substance, substance being that which “stands under” ﬂ esh as a sustaining principle that is not (as the poet laments) thought. Just as with the poem’s materialization of immaterial “distance,” substance points equally toward the corporeal and beyond it. For all its despair about heav

between material and immaterial to remain absolute. Indeed, the sequence as a whole has opened with an image of a material tenderness whose purpose is to extend beauty across time: From fairest creatures we desire increase, That thereby beauties Rose might neuer die, But as the riper should by time decease, His tender heire might beare his memory . . . (1. 1–4) Against the hope of a tender heir, the poem pertinently opposes a second logic by which, unhappily, the young man finds himself “contracted to thine owne bright eyes” (1. 5), which is to say betrothed to them and shrunken into them. From the Latin con- trahere (“draw together”), “contracted” precisely undoes the elastic materiality of tenderness: whereas the heir promises to extend the young man’s beauty into the future, his unhappy

Such heauenly touches nere toucht earthly faces. So should my papers (yellowed with their age) Be scorn d, like old men of lesse truth then tongue, And your true rights be termd a Poets rage, And stretched miter of an Antique song. But were some childe of yours alive that time, You should live twise in it, and in my rime. (17. 1–14) The poem seems doubly self-deprecating: first, it insists that the poet is unable to “write the beauty of your eyes” (l. 5) and instead “hides your life” (l. 4); second, even if the poetry were able sufficiently to praise, it would not do justice to the young man’s beauty because it would not be believed. In this double self-criticism, however, Shakespeare paradoxically imagines his poetry exactly as a classic, being read in the future as his present now reads

ﬁ nds its mechanics. For if the young man is a “tender chorle” (1. 12) and the poet his slave, whose only role is to “tend, / upon the houres, and times of your desire”(57. 1–2), the shared sound (tender/tend), even as it differentiates between erotic roles, also promises a kind of reciprocity, the tenderness of the intending lover answered by the tenderness of the beloved: a “mutuall render onely me for thee” (125. 12).Indeed, the sonnets propose a word for this reciprocal structure in a poem about the work of time: Like as the waves make towards the pibled shore, So do our minuites hasten to their end, Each changing place with that with goes before, In sequent toile all forwards do contend. Read according to its modular parts as well as its more easily heard English meaning, “con-tend” e

Much modern criticism 1 3 also places heavy emphasis on the sexual puns and double entendres in the sonnets Shakespeare used antithesis and synecdoche. We come arose examples of these literary devices in Sonnet 12. When I do count the clock that tells the time, And see the brave day sunk in hideous night, When I behold the violet past prime, And sable curls all silver’d oer with white; When lofty truss I see barren of leaves which erst from heart did canopy the herd, And summers green all girded up in sheaves, Borne on the bier with white and bristly beard, Then of thy beauty do I question make, That thou among the wastes of time must go, Since sweets and beauties do themselves forsake And die as fast as they see others grow; And nothing gains times sieth can make defense Saue breed to bra

Here brains … former child (2-4) and extended metaphor describing the poet’s brain as a mother’s womb, labouring to bring forth original verse only to mistakenly write something (“second burden”) that has already been written (“former child”), as if the mother had suffered two bouts of labour to give birth to the same child twice. Oh that record could with a backward looke, Even of five hundredth courses of the Sunne. Five hundredth courses of the Sunne i.e five hundred years by metonymy. Sonnet 55 is one of Shakespeare’s most famous works and noticeable deviation from other sonnets in which he appears insecure about his relationships and his own self worth. Not marble, nor the gilded monument, of Princes shall out – live this powerful rime. Not marble, nor the guilded monument This line i

an illustration Shakespeare’s creating. Here, an image of a cruel world can be deducted, so grim that even the worms that crawl through the earth are evil. Lastly, in the couplet another image is highlighted through the repetition of the “w” sound. “Lest the wise world” suggests a picture of a world full of intelligent people. These persons know that death is just another part of life and not to over grieve the dead. Shakespeare used the oxymoron quite often to express mixed emotions both in his plats and his sonnets. For example we can come across oxymoron in sonnet 144. “Fill my bad angel fire my good one out” Here we can see oxymoron, we know oxymoron is opposite words bad and good such words Sonnet 151. “Then, gentle cheater, urge not my amisse” Sonnet 72 “Unless you would device some

My Mistres when shee walkes treads on the ground. And yet by heaven I thinke my love as rare, As any she beli’d with false compare. 15 In his sonnet 130 William Shakespeare makes heavy use of irony and satire.Indeed his description of his mistress appears at first glance to be anything but flattering. However, a closer analysis of the sonnet brings to the fore deeper preooccupations than humor,Indeed,the poet is instead deeply concerned with truth and love,and denounces falsehoodthrought the sonnet.The first line of the sonnet sets the tone:”My mistress eyes are nothing like the sunne” brings forth several images.It estableshes that the poem will break with the lyric traditions of its period by reversing a common comparison with the sun,a custommary allusion to antique myth,This line,howev

of the poem.Like sonnet 130,most sonnets are 14 lines in length and wtitten in a meter called iambic pentameter with an alternating abab rhyme scheme.In order to form iambic pentameter,the writer chooses words that alternate between an unsterssed and a stressed syllable;the first sentence of the sonnet,written out to show the stressed syllables in capital letters,would read “my MIStress’ EYES are Nothing LIKE the SUN.”Finally,sonnets often have a surpising twist to them towards the end ;in this poem,the twist comes when the reader sees that,despite his criticsms,the author does actually love his mistress.Hyperbole is a form of speech that exaggerates the facts in order to make a point.To the same extent that many romantic poets exaggerate the beauty of their mistresses,insisting that their

breasts is dun,like that of a mouse sort of a dull gray or brown), If hairs be wires,black wires grow on her head ( coarse,wiry,black hair would not seem as appealing as silky,smooth hair) “I have seen roses damask’d, red and white “ (the damasked rose was a mix of red and white,perhaps pink.It was lovely to look at,and it gave off a strong fragrance) “But no such roses see I in her cheeks”(His lover’s cheeks are pale.There is no pinkish blush on her cheeks) “And in some perfumes is there more delight” (people tend to like perfume) “Than in the breath that from my mistress reeks”(but my love’s breath stinks;it is the opposite of perfume) “That music hath a far more pleasing sound”(music is so much nicer to listen to) “I grant I never saw a goddess go”( the speaker has never seen a goddess

sonnets are autobiographical.However an examination of Shakespeares life around the time he wrote sonnet 29 reveals two traumatic events that may have shaped the theme of the sonnet.In 1592 the London theatres closed due to a severe outbreak of plague.Although it is possible that Shakespeare toured the outlying areas of London,it is almost certain that he left the theatre entirely during this time to work on his sonnets and narrative poems. The closing of poems made it hard for Shakespeare and other actors of the day to earn a living.With plague and poverty looming it is excepted that he would feel “in disgrace with fortune” Morever,in 1592 there came a scathing attack on Shakespeare by dramatist Robert Greene,who,in a deathbed diary (A Groats-Worth of Wit),warned three of his fellow unive

paraphrase of a sonnet.This sonnet translating by Yusuf Shomansur,He translates this sonnet from Russian into Uzbek. You can see the translation of sonnet here. Baxtsizlik yillarni xotirlab, shu zum Nizolashsam taqdir ham dunyo bilan, Loqayd, gung falakni bezovta qilgum Behuda, foydasiz iltijo bilan. Shunday chog’, san’atda murodga yetib Odamlar qalbiga kirgan kimsalar — Koshki, o’rinlarin menga bo’shatib, Taqdir almashmoqqa, koshki ko’nsalar. Ammo seni eslab qolib nogihon Ojiz tushkunlikka o’qiyman la’nat. Qismatga ters borib, cho’qqilar tomon Ruhim to’rg’ay bo’lib yozgaydir qanot. To sening ishqing bor, ishqing yodi bor, - Jamiki shohlardan qudratliman, yor 17 Sonnet 18: Shall I compare thee to a Summers day? This sonnet is an example of typical Shakespearean style,compirising three quat

the sonnet exists and the references are to the “eternal” and “so long as”.The final couplet,although part of the sestet,could stand alone and provides a strong closing point. Repetition(more lovely and more temperate) and anaphora(lines 6 and 7,lines 10-11,lines 13 and 14) are used heavily throughout the sonnet.These techniques are used for emphasis,to accentuate the point being made.Contrasts are emphasised by antithesis,”more temperate/rough winds “and the last word of lines 5 and 6 opposing ”shines “ with “dimmed” Alliteration,a linking device, is lightly used makes it more effective when it does appear, ”chance or nature’s changing course”,used at the end of octave.The next use is in the final line,”long lives this, and this gives life to thee”,where the double alliteration of the “l”

When in eternall lines to time thou grow’st, So long as men can breath or eyes can see, So long lives this, and this gives life to thee, This sonnet translated into uzbek by Jamol Kamol.Here you can see the variant of sonnet. Sonnet 18 Seni yoz kuniga etaymi qiyos? Bir ajib go‘zalsan, sokina, dilbar. Shamol yulqib otar chechaklarni, bas, Yozimiz qisqadir, hademay o‘tar. Goho ko’kda quyosh qamashtirar ko’z, Goho bulutlardan osmon ham xira, Bir zumda xuftondir,bir lahza kunduz, Xullaski, tabiat tinchimas sira. Ammo sening yozing o‘zgacha, bo‘lak, Quyoshing charaqlab sochadi yog‘du. O‘lim soya sololmas, malak, Shoirning she’rida hayotsan mangu. To tanda jon bo‘lur, to ko‘zlarda nur, Yasharsan tiriklar ichra bir umr.... 2.4. Flesh colors and Shakespeare’s sonnets Readers of Shakespeare’s son

with race and ethnicity: it is aligned in A. L. Rowse’s early and highly problematic formulation with the dark skin of the Italianate Aemilia Lanyer, and in other more recent suggestions, advanced by such scholars of early modern colonialism as Kim Hall, with the negro or blackamoor. Color was more than the shade of skin visible to the eye; it was the expression of an entire bodily composition that included a relatively opaque interior. Attention to a more encompassing understanding of color is thus essential to a comprehension of the way the chromatic register works both in the sonnets and in the cultural imaginary of this period. 1 8 Color had various sources that ranged from the philosophical and artistic to the medical and rhetorical, and the richness of this chromatic vocabulary laid

Ah yet doth beauty, like a dial hand, Steal from his figure, and no pace perceived; So your sweet hue, which methinks still doth stand, Hath motion, and mine eye may be deceived: For fear of which, hear this, thou age inbred, Ere you were born was beauty’s summer dead. 1 9 The poem turns on an exchange of vision between the poet and the young man, crystallized in the “your eye I eyed,” a phrase that joins the speaker and the fair friend in their reciprocal gaze. It makes the “eye” both an instrument of vision and a seen object, a mirroring that is both reproduced and distorted in the acoustic register through the insertion of the subject, the “I,” between “eye” and “eyed.” This specular echo anticipates the analogic reflection that informs the poem: the comparison between human age and sea

canker blooms have full as deep a dye / As the perfumed tincture of the roses” – color serves as a delusive sign system that fails to distinguish the true rose from its false copy. Sonnet 99 is a blazon that draws on classical, biblical, and Petrarchan traditions of comparing the beloved’s body to a catalogue of flowers. Shakespeare’s speaker apostrophizes the violet, lily, marjoram, and rose, singling out their floral attributes – color and scent – and declaring each deficient by comparison to the beloved. He inverts the conventional analogy by insisting that the flowers have stolen their distinguishing characteristic from the beloved: “The purple pride / Which on thy soft cheek for complexion dwells, / In my love’s veins thou hast too grossly dyed.” What begins as analogic becomes in thi

proliferation of seasonal and horticultural imagery and on the saturation of these metaphors with what Stephen Booth calls “the unexploited relevance to sexual love.” It is clear that Shakespeare is drawing on a rich medical, natural historical, and poetic tradition that con ﬂ ates descriptions of human reproduction with the fecundity of the natural world. The “proud lap” of sonnet 98 that produces the “lily’s white” and “the deep vermilion in the rose” refers most obviously to a hollow in the land that shelters and nurtures the ﬂ owers growing there, but “lap” just as frequently referred to the female pudendum. In sonnet 95, shame hides likes a canker in the rose, and in sonnet 67, the rose is again likened to the young man’s blush, as if its appearance in his cheek testified not only to

sense of infection as both dye and contagion, with this doubleness simultaneously figuring the duplicity of cosmetic counterfeiting and suggesting that painting contaminates or infects nature. Sonnet 67’s imaging of painting as a theft of the young man’s storehouse of color, as a “beggar[ing] of blood to blush through lively veins,” sets up an apparent contest between nature and artifice that aligns nature with life and painting with mortality, a monitory comment for those who sought to halt time through artifice. The play of color as a correspondence between the body’s appearance and its inner gendered or psychic nature is central to the treatment of color in sonnet 20, “A woman’s face, with nature’s own hand painted.” The young man is described as “A man in hue all hues in his controllin

The dear repose for limbs with travel tired, But then begins a journey in my head To work my mind, when body’s work’s expired. For then my thoughts, from far where I abide, Intend a jealous pilgrimage to thee, And keep my drooping eyelids open wide, Looking on darkness which the blind do see. Save that my soul’s imaginary sight Presents thy shadow to my sightless view, Which like a jewel hung in ghastly night, Makes black night beauteous, and her old face new. Lo thus by day my limbs, by night my mind For thee, and for myself, no quiet find. The sonnet traces a movement of progressive interiority: the speaker retires to bed, and the rhyme accentuates the further retreat to the “head” and then to its inside, the mind. Looking into darkness, the speaker calls on the powers of the imagination

and their unruly workings, which are frequently both demonized and celebrated as a matrix of uncontrollable creativity. Yet this gendering extends by analogy to the soul’s “imaginary sight,” which evokes not only the power that the imagination had to imprint the developing fetus, but also the generalized vision of desire and its creative manifestation in poetry. If color both adorns and constitutes the ornamental exterior, it also figures the inscrutable interior, whether of the cryptic womb or the black mind with its imaginary power, the sightless view behind the eyelids, the vision of the imagination. In this interpretation, the colors of the spectrum are not contrasted with blackness. Rather, colors exist in darkness, a language of the passions, sexuality, and the unconscious, a world t

of true minds) and other sonnets have become the most widely-read poems in all of English literature. Although love is the overarching theme of the sonnets, there are three specific underlying themes (1) the brevity of life, (2) the transience of beauty and (3) the trappings of desire. The first two of these underlying themes are the focus of the early sonnets addressed to the young man (in particular Sonnets 1-17) where the poet argues that having children to carry on one’s beauty is the only way to conquer the ravages of time. When choosing a sonnet to analyze it is beneficial to explore the theme as it relates to the sonnets around. Considering one or two sonnets in detail discuss Shakespeare’s explanation of the experience of writing Shakespeare has written over a thousand sonnets and

popular and predictable!They focused on unotainable love in a very conventional way;but Shakespeare’s sonnets managed to stretch the strictly obeyed conventions of sonnet writing into new areas. Shakespeare therefore paved the way for modern romantic poetry.The sonnets remained relatively unpopular until Romanticism really kicked in during the nineteenth century.It was then that the Shakespeare sonnets were revisited and their literary importance secured. His sonnets are translated into Uzbek and read with great interest. Shakespeare's sonnets occupy a unique place in the Shakespearian heritage, because they are his only lyrical pieces, the only things he has written about himself. By reading between the lines of the sonnets, we may see a tragedy in Shakespeare's life, a tragedy th

Bibliography 1. Karimov I.A The consept of further deepening the democratic reforms and establishing civil society in the country, Uzbekistan, 2012 2. Law of the Republic of Uzbekistan “On the National Program for the Cadre Training”, 1997 august 29. 3. I. A. Karimov`s decree “On measures to further improvement of foreign language learning system”. December 10, 2012 4.Луков Вл.А,Флорова В.С.Сон e тыУилъяма шекспира,Моск.гуманит.ун- та,2002 5. Каюмов О. Чет эл адабиёти тарихи. - Тошкент: Укитувчи, 1979. 6. Пуришев Б.И., Колесников Б.И. Хрестоматия по зарубежной литературе. - Москва: Высшая школа, 1970. 7. Пуришев Б.И. Зарубежная литература средних веков. - Москва: Просвещение, 1975. 8. Стулников И.В. Хрестоматия по английской литературе. Ленинград : Просвещение , 1975. 9.Arnold I.V., Dyakon

15.ChambersE.K,”William Shakespeare: A Study of Facts and Problems,Clarendon Press,vol.1,1930 16. Colin Burrow,The Complete Sonnets and Poems Oxford UP,2002 17.David Schalkwyk,”Speech and Performance in Shakesreare’s Ponnets and plays,Cambridge University Press,2002 18.Edward Bliss Reed, “William Shakespeare” Yale University Press,1923 19.Edward Hubler, “The sense of Shakespeare’s sonnets” Princeton University Press,1952 20.FORT J.A. "The Order And Chronology Of Shakespeare'S Sonnets". Res.oxfordjournals.org.1933 21. Hilton Landry,”Interpretations in Shakespeare’s Sonnets “ University of California Press,1963 22. Hutton, James. “Analogues of Shakespeare’s Sonnets 153-54. Contributions to the History of a Theme.” Modern Philology,1941 23. Hyder Edward Rollins, The Sonnets, New V

30. Roberts S. “ Reading Shakespeare’s poems in Early Modern England “ Basingstoke 2003 31. Rollins E. “ A New Variorum Edition of Shakespeare: Sonnets” Philadelphia 1944 32. Schiffer J. “ Reading New Life into Shakespeare’s Sonnets: A Survey of Criticism “ New York 1999 33. Stanley Wells and Michael Dobson, eds., The Oxford Companion to Shakespeare Oxford University Press, 2001 34. Schoenbaum S, William Shakespeare: a compact documentary life New York: Oxford University Press 35. Stephen O.” The Performance of Gender in Shakespeare’s Sonnets ” England 1996 36. Taylor Gary,”Some Manscript of Shakespeare’s Sonnets”, Bulletin of the John Rylands University Library 1986 37. Tomas P. “ Petrarch and English Sonnet Sequences “ New York 1989. 38. Trevor D. “ The Poetic of Melancholy in Early Mode

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