Free Essay

Sonnet 12 Explication

In:

Submitted By missaprilf1
Words 1486
Pages 6
April Fabro
English 200B
Professor Taufer
29 May 2012
An Explication of William Shakespeare’s 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 o'er with white;

When lofty trees I see barren of leaves Which erst from heat did canopy the herd,

And summer's 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 'gainst Time's scythe can make defence
 Save breed, to brave him when he takes thee hence.

William Shakespeare’s Sonnet 12 is written in an iambic pentameter in the Shakespearean format. It is a contemplation of one’s progression of life and the absolute emergence of ones death, with an ultimate purpose to convey the answer of an individual receiving eternal life. The sonnet is a short narration of definitive mortality that focuses on the passing of time through metaphoric images of nature and through the description of ones youth evolving into the dreaded phase of old age. It is a brief description of the passing of time here on earth. It showcases the passing of time in three quatrains: the end of youth, the end of the harvest season, and the end of ones life. The poem emphasized the importance of procreation and bearing children for one to continue the cycle of life and in a sense, promote the gift of eternal life by living through ones children and ensure survival of the subsequent generations.
In the sonnet, there are rhetorical devices used to elucidate the theme of the poem; some of the devices found include personification, antithesis, internal rhyme, imagery, and metaphor to cleverly demonstrate the various ways time can be measured and portray the paradigm that all things must come to an end. The devices make the sonnet flow beautifully, transitioning from one idea to another through poetic illustration. The choice of words that Shakespeare uses is a clever way to symbolize a parallel idea relating to the theme of passing time in the sonnet.
The melancholic opening of the sonnet illustrates a self-reflection of the poet in a poignant state of pondering on the passing of time. The poem is not specifically addressed to anyone in particular until the third quatrain where the poet addresses the reader directly. The first two lines of quatrain one, begins the poem with an image of the passing of day and transitioning into the night. The poet uses personification to describe the “clock that tells time;” the meaning of the clock “telling” time is the moment the clock chimes, it is a certain point of the day and if it is taken farther in analysis, one can compare it to a point in one’s life. The use of personification and antithesis dramatically emphasizes the illustration of the day transitioning into the setting sun to night; this never-ending cycle results in the evolution of nature and the maturity of one’s youth. The sonnet compares youth to spring flowers with the use of the words “violet past prime” and the coming of old age in the last line of the first quatrain. The color violet is a symbol for the springs blooming flowers; a sign of a renewal taken place in nature. Spring is a symbol of a new beginning or rebirth; after the death of winter’s cold, immerges a new beginning and rebirth in nature. In contrast, the last line of quatrain one portrays the passage of time with a description of a once black curly hair turning into hair saturated with silver and white; it is an allusion of the progression to the ultimate destination of one’s death.
In quatrain two, the poem transitions into a different image of the passing of time through a depiction of the end of autumn’s harvest. The image enters with an internal rhyme, which further dramatizes the changing of the seasons from spring to fall then winter. In the fall season, nature goes through a phase of metamorphosis and ultimately leads to death through changing colors and the shedding of leaves. The autumn leaves that once provided protection to the animals from the sweltering heat of the sun’s rays disappeared with the fall season. It is a metaphor for the cycle of life and death. In comparison to the previous quatrain, color is a clear indication of passing time in not only human life but nature as well; the changing color of leaves in the fall is parallel to the changing color of hair in human life. It is the phase right before a state of death.
The sonnet continues to use the imagery of passing time through imagery of the “summer’s green” which is a synecdoche that is insinuating that all of the crops from the autumns harvest are bundled up and ready to be stored for the winter while being taken away on a “bier” as quoted in the last line. In further analysis of the last line of quatrain two, not only does Shakespeare use a lyrical form of alliteration with the letter “B,” he also uses a beautiful metaphor “Borne on the bier with white and bristly beard.” In translation, “Borne on the bier” implies that the crops are being carried away on the wagon after the summer’s greens are bundled up and ready to be delivered or stored. Shakespeare ties in the metaphor of death with the word “bier,” which is also another name for the wagon that carries a casket before the body is buried; both wagons carry death to its destination. This metaphor is an equal representation of death in nature and death in human life.
The third quatrain changes the consistency of imagery that is already portrayed in the previous quatrains. With the use of anastrophe in opening line of the quatrain “Then of thy beauty do I question make,” not only does Shakespeare question the reality of one’s beauty but he also questions how long one’s beauty will last? Will it be everlasting? Shakespeare declares that human beauty cannot be youthful forever and one’s beauty and beautiful things here on this earth will eventually fade and decay with the passing of each day. Human life can be compared to nature; when one plant dies, it will be replaced with another. In comparison, human death is always replaced with human life. It is a never-ending cycle of life and death that progresses with the passing of time.
In the first line of the couplet (line 13), Shakespeare uses the words “Time’s scythe,” and the word “Time” is capitalized as if “Time” is a person. Metaphorically, “Time” is a personification of death and it is also an allusion for the mythological Grim Reaper who traditionally wields a scythe. In connection to the second quatrain, a scythe is significant to reaping crops for the harvest and in a sense brings death to the crops. It can easily be compared to the Grim Reaper carrying a scythe while collecting a person’s life and it alludes the fact that there is never protection from the coming of death. According to the last line of the sonnet, one can only defy the Grim Reaper and the passing of time through procreation and bearing children to achieve immortality. The words in the last line “Save breed,” indicate that having children is the only way to live forever when “Time” comes to take you. It ensures ones continuation of beauty and presence here on earth even when the time has come that ones life must come to an end by living through one’s children.
The tone throughout the entire sonnet is very melancholic and sad; coldness and death is the dominant imagery throughout the whole poem. Although Shakespeare states a clear answer to the sad fate of death and passing time, the sonnet still ends in a mournful tone. It is as if the whole purpose of ones life is to marry and bear children for the sake of ones own immortality. The rhetorical devices clearly enhance the sadness and sincerity of each line in a somber and lyrical manner. It clearly illustrates that time here on earth, regardless of how hard one tries to prevent it from passing, will forever continue its natural cycle. It is a dreaded fate that every living thing on this earth must face but the importance for to one continue the cycle of life by bearing children will live on from generation to generation. One must continue the cycle of life and death. Shakespeare ended the sonnet with very powerful words as the last impression for the reader to ponder about achieving everlasting life

Similar Documents

Premium Essay

Breaking the Book Known as Q

...and consequently the possible comprehension of the text read or heard. —Roger Chartier O let my books be then the eloquence . . . —“23” Shake-speares Sonnets I COLEMAN HUTCHISON is a PhD candidate in the Department of English at Northwestern University. He is completing a dissertation entitled “Revision, Reunion, and the American Civil War Text.” N THE FIRST SENTENCE OF HER ART OF SHAKESPEARE’S SONNETS, Helen Vendler tells a little white lie: “I have reprinted both the 1609 quarto Sonnets and a modernized version of my own” (xiii). e crux of this declaration is “reprinted.” Vendler does indeed print a version of the 1609 quarto—or “Q,” as it is referred to bibliographically; one could even say that she “reprints” the type of the quarto. Vendler does not, however, “reprint” the 1609 quarto Sonnets. Like nearly every modern editor before her, Vendler presents the poems as discrete units on a page, eliding and ignoring the page breaks that so o en—and, I will argue, so meaningfully—interrupt the poems. In “reprinting” these poems, Vendler uses a de cut-and-paste method to rearrange, re-member, and reconstitute the type of the 1609 quarto into uninterrupted material units, into what we would visually recognize as “sonnets.” e result of Vendler’s seemingly innocuous editorial decision is profound. On her page, the sonnets appear as and in All images except for figure 1 were produced by ProQuest Information and Learning Company as part of Early English Books Online. Inquiries...

Words: 11505 - Pages: 47

Free Essay

Life Sketch

...W.B. Yeats's "The Second Coming" W.B. Yeats' poem "The Second Coming" was written in 1919, just one year after WWI ended. The beginning of this poem reflects on how evil has taken over the minds of good Christians, and the world has turned into chaos. It is apparent that Yeats believes that a Second Coming is at hand, and he spends the last half of the poem discussing what that Second Coming could look like. Turning and turning in the widening gyre (line 1) Yeats imagines the world in a cyclical sphere known a gyre (shape of a cone). In Yeats' note on the text, he states that "the end of an age, which always receives the revelation of the character of the next age, is represented by the coming of one gyre to its place of greatest expansion and of the other to that of its greatest contraction" (2036). Yeats believes that the two thousand years of Christianity will be coming to an end, and after a violent reversal a new age will take its place. The widening part of the gyre is supposed to connote anarchy, evil, and the loss of innocence. The falcon cannot hear the falconer; (2) The falconer in this analogy is most likely God (or Jesus), and the falcon is the follower (or devotee). Humanity can no longer hear the word of God, because it is drowned out by all of chaos of the widening gyre. A wild falcon can symbolize an unconverted Gentile; someone who has sinful thoughts, and does sinful things. A tame falcon (one who listens to the word of God) is a Christian convert. In the...

Words: 23171 - Pages: 93

Free Essay

Literatures I English Cape Syllabus

...re tu ra li CAPE Modern te ng Languages Literatures nE e siniEnglish ur e at l er g it En sin ur e at er it L Caribbean Examinations Council ® SYLLABUS SPECIMEN PAPER CSEC® SYLLABUS,MARK SCHEME SPECIMEN PAPER, MARK SCHEME SUBJECT REPORTS AND SUBJECT REPORTS Macmillan Education 4 Crinan Street, London, N1 9XW A division of Macmillan Publishers Limited Companies and representatives throughout the world www.macmillan-caribbean.com ISBN 978-0-230-48228-9 © Caribbean Examinations Council (CXC ®) 2015 www.cxc.org www.cxc-store.com The author has asserted their right to be identified as the author of this work in accordance with the Copyright, Design and Patents Act 1988. First published 2014 This revised version published 2015 Permission to copy The material in this book is copyright. However, the publisher grants permission for copies to be made without fee. Individuals may make copies for their own use or for use by classes of which they are in charge; institutions may make copies for use within and by the staff and students of that institution. For copying in any other circumstances, prior permission in writing must be obtained from Macmillan Publishers Limited. Under no circumstances may the material in this book be used, in part or in its entirety, for commercial gain. It must not be sold in any format. Designed by Macmillan Publishers Limited Cover design by Macmillan Publishers Limited and Red Giraffe CAPE® Literatures...

Words: 121889 - Pages: 488

Free Essay

Le Guepard

...Conférence de Monsieur Actis-Grosso – Aristocratisme et décadence dans Le Guépard de Giuseppe Tomasi di Lampedusa Aristocratisme et décadence dans Le Guépard de Giuseppe Tomasi Di Lampedusa Conférence de Monsieur Actis-Grosso prononcée au CRDP d’Amiens, le jeudi 25 novembre 2007 Plan de la conférence 1. Un chef d’œuvre controversé 2. Profil biographique 3. Les diverses rédactions du manuscrit 4. Lampedusa et la critique : une propédeutique à l’analyse du roman 5. Les piliers thématiques du Guépard 6. Le Guépard : roman historique ou œuvre autobiographique ? 7. Structure et style du Guépard : - Chapitre I : analyse narrative parallèle des conversations du Prince et de Tancrède et du Prince et de Russo - Chapitre II : analyse de la visite de Don Calogero et Angelica - Chapitre III : annonce du mariage entre Tancrède et Angelica le Plébiscite à Donnafugata - Chapitre IV : entretien entre Don Fabrizio et Don Calogero - Chapitre V : discussion entre le Père Pirrone et l’herboriste - Chapitre VI : l’épisode de la bibliothèque - Chapitre VII : unique épisode de la mort du Prince - Chapitre VIII : conclusion globale N.B. : les deux derniers chapitres sont considérés dans leur totalité sans choix de passage(s) déterminé(s) pour une raison structurelle (VII) et thématique (VIII). N.B.2 : La conférence a été relue avec attention par M. Actis-Grosso et A. Orosco, qu’ils en soient ici remerciés. N.B. 3 : les notes en bas de page ont été ajoutées par Laure-Hélène Péquet lors de...

Words: 17227 - Pages: 69

Free Essay

The Power of Eye Contact

...The Power of Eye Contact Your Secret for Success in Business, Love, and Life Michael Ellsberg For Jena May I gaze into your eyes forever . . . los ojos . . . mudas lenguas de amorios. ( . . . the eyes, silent tongues of love.) —MIGUEL DE CERVANTES, from Don Quijote1 Contents Cover Title Page Epigraph A Note to Readers Introduction Chapter One - What Bill Clinton Knows About Eye Contact Chapter Two - How to Become a Master of Eye Chapter Three - Eye Flirting, Part I Chapter Four - Eye Flirting, Part II Chapter Five - The Eyes Are the Windows to the Sale Chapter Six - How to Wow a Crowd with Eye Contact Chapter Seven - If Looks Could Kill Chapter Eight - Truth and Eyes Chapter Nine - Eye Love You Chapter Ten - Gazing at the Divine Chapter Eleven - Going Deeper Epilogue Ralph Waldo Emerson on Eyes and Eye Contact Notes Works Cited Interviewees Free Bonus Material for Readers Acknowledgments About the Author Advance Praise for The Power of Eye Contact Copyright About the Publisher A Note to Readers I welcome your comments, questions, critiques, feedback, corrections, stories, experiences, and anecdotes. Please write to me at michael@powerofeyecontact.com. I won’t answer everything personally, but I will read it all and will answer the most interesting questions and queries. I may also post your questions, stories, or anecdotes on the book’s blog, www.powerofeyecontact.com/blog. So when you write, let me know if you’re OK with that, and if so, how you’d...

Words: 72918 - Pages: 292

Free Essay

Art and Story Proceedings 2004

...Proceeding for the School of Visual Arts Eighteenth Annual National Conference on Liberal Arts and the Education of Artists: Art and Story CONTENTS SECTION ONE: Marcel’s Studio Visit with Elstir……………………………………………………….. David Carrier SECTION TWO: Film and Video Narrative Brief Narrative on Film-The Case of John Updike……………………………………. Thomas P. Adler With a Pen of Light …………………………………………………………………… Michael Fink Media and the Message: Does Media Shape or Serve the Story: Visual Storytelling and New Media ……………………………………………………. June Bisantz Evans Visual Literacy: The Language of Cultural Signifiers…………………………………. Tammy Knipp SECTION THREE: Narrative and Fine Art Beyond Illustration: Visual Narrative Strategies in Picasso’s Celestina Prints………… Susan J. Baker and William Novak Narrative, Allegory, and Commentary in Emil Nolde’s Legend: St. Mary of Egypt…… William B. Sieger A Narrative of Belonging: The Art of Beauford Delaney and Glenn Ligon…………… Catherine St. John Art and Narrative Under the Third Reich ……………………………………………… Ashley Labrie 28 15 1 22 25 27 36 43 51 Hopper Stories in an Imaginary Museum……………………………………………. Joseph Stanton SECTION FOUR: Photography and Narrative Black & White: Two Worlds/Two Distinct Stories……………………………………….. Elaine A. King Relinquishing His Own Story: Abandonment and Appropriation in the Edward Weston Narrative………………………………………………………………………….. David Peeler Narrative Stretegies in the Worlds of Jean Le Gac and Sophe Calle…………………….. Stefanie Rentsch...

Words: 117240 - Pages: 469

Premium Essay

Learning Theory

...Beginning theory An introduction to literary and cultural theory Second edition Peter Barry © Peter Barry 1995, 2002 ISBN: 0719062683 Contents Acknowledgements - page x Preface to the second edition - xii Introduction - 1 About this book - 1 Approaching theory - 6 Slop and think: reviewing your study of literature to date - 8 My own 'stock-taking' - 9 1 Theory before 'theory' - liberal humanism - 11 The history of English studies - 11 Stop and think - 11 Ten tenets of liberal humanism - 16 Literary theorising from Aristotle to Leavis some key moments - 21 Liberal humanism in practice - 31 The transition to 'theory' - 32 Some recurrent ideas in critical theory - 34 Selected reading - 36 2 Structuralism - 39 Structuralist chickens and liberal humanist eggs Signs of the fathers - Saussure - 41 Stop and think - 45 The scope of structuralism - 46 What structuralist critics do - 49 Structuralist criticism: examples - 50 Stop and think - 53 Stop and think - 55 39 Stop and think - 57 Selected reading - 60 3 Post-structuralism and deconstruction - 61 Some theoretical differences between structuralism and post-structuralism - 61 Post-structuralism - life on a decentred planet - 65 Stop and think - 68 Structuralism and post-structuralism - some practical differences - 70 What post-structuralist critics do - 73 Deconstruction: an example - 73 Selected reading - 79 4 Postmodernism - 81 What is postmodernism? What was modernism? -...

Words: 98252 - Pages: 394

Free Essay

Citations Historiques

...Jean-Paul Roig Citations historiques expliquées Des origines à nos jours E YROLLES PRATIQUE Citations historiques expliquées Des origines à nos jours Dans la même collection : π π π π π π π π π π π π π π π π π π π π π π π π π π π π π π π π π Petite histoire de l’Inde, Alexandre Astier Comprendre l’hindouisme, Alexandre Astier Communiquer en arabe maghrébin, Yasmina Bassaïne et Dimitri Kijek QCM de culture générale, Pierre Biélande Le christianisme, Claude-Henry du Bord La philosophie tout simplement, Claude-Henry du Bord Comprendre la physique, Frédéric Borel Marx et le marxisme, Jean-Yves Calvez L’histoire de France tout simplement, Michelle Fayet QCM Histoire de France, Nathan Grigorieff Citations latines expliquées, Nathan Grigorieff Philo de base, Vladimir Grigorieff Religions du monde entier, Vladimir Grigorieff Les philosophies orientales, Vladimir Grigorieff Les mythologies tout simplement, Sabine Jourdain Découvrir la psychanalyse, Edith Lecourt Comprendre l’islam, Quentin Ludwig Comprendre le judaïsme, Quentin Ludwig Comprendre la kabbale, Quentin Ludwig Le bouddhisme, Quentin Ludwig Les religions, Quentin Ludwig La littérature française tout simplement, Nicole Masson Dictionnaire des symboles, Miguel Mennig Les mots-clés de la géographie, Madeleine Michaux Histoire du Moyen Âge, Madeleine Michaux Histoire de la Renaissance, Marie-Anne Michaux Citations philosophiques expliquées, Florence...

Words: 48649 - Pages: 195

Premium Essay

Quiet: Power of Introverts

...MORE ADVANCE NOISE FOR QUIET “An intriguing and potentially lifealtering examination of the human psyche that is sure to benefit both introverts and extroverts alike.” —Kirkus Reviews (starred review) “Gentle is powerful … Solitude is socially productive … These important counterintuitive ideas are among the many reasons to take Quiet to a quiet corner and absorb its brilliant, thought-provoking message.” —ROSABETH MOSS KANTER, professor at Harvard Business School, author of Confidence and SuperCorp “An informative, well-researched book on the power of quietness and the 3/929 virtues of having a rich inner life. It dispels the myth that you have to be extroverted to be happy and successful.” —JUDITH ORLOFF, M.D., author of Emotional Freedom “In this engaging and beautifully written book, Susan Cain makes a powerful case for the wisdom of introspection. She also warns us ably about the downside to our culture’s noisiness, including all that it risks drowning out. Above the din, Susan’s own voice remains a compelling presence—thoughtful, generous, calm, and eloquent. Quiet deserves a very large readership.” —CHRISTOPHER LANE, author of Shyness: How Normal Behavior Became a Sickness 4/929 “Susan Cain’s quest to understand introversion, a beautifully wrought journey from the lab bench to the motivational speaker’s hall, offers convincing evidence for valuing substance over style, steak over sizzle, and qualities that are, in America, often derided. This book is brilliant...

Words: 118436 - Pages: 474

Free Essay

Jane Austen Persuation

...Jane Austen Persuasion BeQ Jane Austen Persuasion roman Traduit de l’anglais par Mme Letorsay La Bibliothèque électronique du Québec Collection À tous les vents Volume 708 : version 1.0 2 De la même auteure, à la Bibliothèque : Catherine Morland Orgueil et préjugés 3 Persuasion Édition de référence : Paris, Librairie Hachette et Cie, 1882. 4 I Sir Walter Elliot, de Kellynch-Hall, dans le comté de Somerset, n’avait jamais touché un livre pour son propre amusement, si ce n’est le livre héraldique. Là il trouvait de l’occupation dans les heures de désœuvrement, et de la consolation dans les heures de chagrin. Devant ces vieux parchemins, il éprouvait un sentiment de respect et d’admiration. Là, toutes les sensations désagréables provenant des affaires domestiques se changeaient en pitié et en mépris. Quand il feuilletait les innombrables titres créés dans le siècle dernier, si chaque feuille lui était indifférente, une seule avait constamment pour lui le même intérêt, c’était la page où le volume favori s’ouvrait toujours : Famille Elliot, de Kellynch-Hall : 5 Walter Elliot, né le 1 mars 1760 ; épousa, le 15 juillet 1874, Élisabeth, fille de Jacques Stevenson, esquire de South-Park, comté de Glocester, laquelle mourut en 1800. Il en eut : Élisabeth, née le 1 juin 1785, Anne, née le 9 aoust 1787, Un fils mort-né le 5 novembre 1789, et Marie, née le 20 novembre 1791. er er Tel était le paragraphe sorti des mains de l’imprimeur ;...

Words: 47759 - Pages: 192

Premium Essay

Cyrus the Great

...critical theory today critical theory today A Us e r - F r i e n d l y G u i d e S E C O N D E D I T I O N L O I S T Y S O N New York London Routledge is an imprint of the Taylor & Francis Group, an informa business Routledge Taylor & Francis Group 270 Madison Avenue New York, NY 10016 Routledge Taylor & Francis Group 2 Park Square Milton Park, Abingdon Oxon OX14 4RN © 2006 by Lois Tyson Routledge is an imprint of Taylor & Francis Group, an Informa business Printed in the United States of America on acid‑free paper 10 9 8 7 6 5 4 3 2 1 International Standard Book Number‑10: 0‑415‑97410‑0 (Softcover) 0‑415‑97409‑7 (Hardcover) International Standard Book Number‑13: 978‑0‑415‑97410‑3 (Softcover) 978‑0‑415‑97409‑7 (Hardcover) No part of this book may be reprinted, reproduced, transmitted, or utilized in any form by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying, microfilming, and recording, or in any information storage or retrieval system, without written permission from the publishers. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging‑in‑Publication Data Tyson, Lois, 1950‑ Critical theory today : a user‑friendly guide / Lois Tyson.‑‑ 2nd ed. p. cm. Includes bibliographical references and index. ISBN 0‑415‑97409‑7 (hb) ‑‑ ISBN 0‑415‑97410‑0 (pb) 1. Criticism...

Words: 221284 - Pages: 886

Free Essay

Gre Vocabulary 3000

...Made By Jason & Franklin. This Document Is Strictly Prohibited For Commercial Purposes Without Authorization. List 1 GRE Verbal 750 Quantitative 800, AW 5.5 2008 10 Princeton, MIT, M. Fin Unit 1 ABANDON A B D I C AT E ABASE ABERRANT ABASH ABET A B AT E A B E YA N C E A B B R E V I AT E ABHOR abandon [ 1 n. ] carefree, freedom from constraint added spices to the stew with complete abandon unconstraint, uninhibitedness, unrestraint 2 v. to give (oneself) over unrestrainedly abandon herself to a life of complete idleness abandon oneself to emotion indulge, surrender, give up 3 v. to withdraw from often in the face of danger or encroachment abandon the ship/homes salvage 4 v. to put an end to (something planned or previously agreed to) NASA the bad weather forced NASA to abandon the launch abort, drop, repeal, rescind, revoke, call off keep, continue, maintain, carry on abase [ 1 v. ] to lower in rank, office, prestige, or esteem was unwilling to abase himself by pleading guilty to a crime that he did not commit debauch, degrade, profane, vitiate, discredit, foul, smirch, take down elevate, ennoble, uplift, aggrandize, canonize, deify, exalt abash [ 1 vt. ] to destroy the self-possession or self-confidence of ,disconcert, embarrass Nothing could abash him. discomfit, disconcert, discountenance, faze, fluster, nonplus, mortify embolden abate [ 1 v. ] to reduce in degree or intensity / abate his rage/pain taper off intensify 2 v. ...

Words: 139628 - Pages: 559