In “The Merchant of Venice”, Shakespeare states an attitude towards form and matter which can be considered not only as that of the character but also as his own: Those “that for a tricksy word defy the matter” are “fools” (Hubler 243). This can be read as a claim that form must be subordinated to substance (Hubler 241). Indeed, with regard to the sonnets, Shakespeare does not seem to be very inventive as far as the form is concerned. He adopts the rhyme scheme that Surrey established (abab - cdcd - efefgg) (Spiller 158), draws on the highly passionate and rhetorical language formerly used by Sidney, and he employs some of Spenser’s phrasings in his own works (Prince 176 and 178). Yet, there is something unique about Shakespeare’s poetry, something which is not purely derived from the substance but t o a large extent from the structure. It is the conveyance of emotion with means that are part of the form. In a narrow sense, ‘form’ is “that in virtue of which the parts are related one to another” (Nowottny 111). This notion focuses on elements in terms of their formal (arrangement of the lines into stanzas), syntactical, logical, and phonetic relationship towards each other and is mainly concerned with movements produced by those elements (Booth, 175). In a wider sense, ‘form’ as the opposite of ‘contents’ also includes the use of imagery and other devices which form part of the poetic technique. In the following essay, I will focus on the narrow concept of ‘form’ and explain why and how the sonnet provides a frame within which Shakespeare finds numerous tools to express emotion. After some outlining general remarks about the contents of Shakespeare’s Sonnets and the topics best suited for this kind of poetry, I will deal with Sonnets 29, 4, and 23, all of which belong to the category associated with the young man. I will also point out how Shakespeare’s use of the form differs from that of Sidney, exemplified through Sonnet 71 of the sequence Astrophil and Stella. I will conclude by saying that the form, even if Shakespeare did think it a vassal to the matter of the sonnet, is to a large extent responsible for the success that the poems have achieved in their attempt to convey the denseness of human emotion. [...]
Table of Contents
1 An outline of the contents of the Sonnets
2 Preliminary remarks about the sonnet: what it is, what it can achieve
3 Internal divisions in the original Italian sonnets
4 Internal divisions in Shakespeare’s Sonnets
4.1 Logical, formal, and phonetic patterns in Sonnet 29
4.2 Logical and syntactical patterns in Sonnet 4
4.3 Meter, rhyme scheme, and syntax – Shakespeare’s Sonnet 23 and Sidney’s Sonnet 71 compared
Objectives and Themes
This essay explores how Shakespeare employs the formal constraints of the sonnet structure—specifically rhyme scheme, syntax, and logical divisions—as essential tools to convey complex human emotions. By analyzing selected sonnets alongside Philip Sidney’s work, the author demonstrates how Shakespeare transforms rigid poetic frames into a dynamic medium for expressing intimate feelings and dramatic internal conflicts.
- The relationship between poetic form and emotional substance.
- Structural divisions as a method for depicting emotional transitions.
- Logical and phonetic patterns in Shakespearean sonnets.
- Comparative analysis of Shakespearean and Sidneyan sonnet techniques.
- The role of the couplet in intensifying thematic expression.
Excerpt from the Book
4.2 Logical and syntactical patterns in Sonnet 4
It has been suggested by T. W. Baldwin that Shakespeare’s sonnets follow a concept similar to that of Cicero’s recommended line of argumentation (Muir 89). In Sonnet 3, the first quatrain is a proposition, the second quatrain gives a reason for this proposition, the third quatrain confirms this reason and the couplet draws a conclusion, often of a general character (Muir 89). However, this scheme does not match most of Shakespeare’s Sonnets because “his practice varied according to the material which he was wrestling” (Muir 89).
Moreover, the person of the speaker is always involved in the poem, not only as a presenter of a persuasive argument in the shape of a poem, but also as a feeling and judging individual. The Renaissance is the epoch of individuality (Lever v). Men do not simply feel like a subdued part of the whole anymore as they did in the Middle Ages. This becomes obvious in Sonnet 4, where the poet endows his argument with strong private opinion. He frames them as “two distinct voices” (Nowottny 115), which become audible through the form of the sonnet.
Summary of Chapters
1 An outline of the contents of the Sonnets: Provides an overview of the thematic focus on the young man and the 'Dark Lady' within Shakespeare's sequence.
2 Preliminary remarks about the sonnet: what it is, what it can achieve: Discusses the sonnet as a condensed dramatic form capable of mapping complex human thoughts within fourteen lines.
3 Internal divisions in the original Italian sonnets: Examines the Petrarchan tradition of dividing the sonnet into blocks of eight and six lines to facilitate an argument and its resolution.
4 Internal divisions in Shakespeare’s Sonnets: Introduces the shift to the Shakespearean rhyme scheme and its influence on the thematic structure of the poems.
4.1 Logical, formal, and phonetic patterns in Sonnet 29: Analyzes how rhyme and structural organization in Sonnet 29 mirror the poet's internal movement from gloom to joy.
4.2 Logical and syntactical patterns in Sonnet 4: Investigates the use of financial imagery and two distinct voices within Sonnet 4 to express the speaker's complex attitude toward the young man.
4.3 Meter, rhyme scheme, and syntax – Shakespeare’s Sonnet 23 and Sidney’s Sonnet 71 compared: Contrasts Shakespeare's disciplined use of form with Sidney's more ornate technical approach in Astrophil and Stella.
Keywords
Shakespeare, Sonnets, Form, Emotion, Structure, Rhyme Scheme, Petrarch, Sidney, Quatrain, Couplet, Syntax, Logic, Renaissance, Poetry, Imagery.
Frequently Asked Questions
What is the primary subject of this assignment?
The assignment explores how William Shakespeare uses the technical constraints of the sonnet form—such as rhyme, syntax, and logical organization—to effectively communicate human emotions.
What are the central themes of the work?
The core themes include the intersection of poetic form and substance, the development of the speaker's emotional state, and the contrast between Shakespearean sonnet structures and those of contemporaries like Philip Sidney.
What is the main goal of this research?
The goal is to demonstrate that Shakespeare's formal choices are not merely conventional, but are functional tools that actively support the conveyance of deep, complex emotional narratives.
Which methodology is used in the essay?
The author employs a comparative literary analysis, examining specific sonnets (29, 4, and 23) and contrasting them with Philip Sidney’s work to evaluate formal techniques.
What does the main body cover?
The body analyzes internal divisions, logical and phonetic patterns, and the specific use of couplets and quatrains in Shakespeare's sonnets, providing close readings to support the thesis.
Which keywords characterize this study?
Key terms include Shakespeare, Sonnets, Form, Emotion, Renaissance literature, Rhyme scheme, Couplet, and Comparative analysis.
How does Sonnet 4 demonstrate the speaker's individuality?
The essay argues that Sonnet 4 uses "two distinct voices" to frame an argument, showing how the poet moves beyond medieval anonymity to express strong, private opinions about beauty and procreation.
Why is Sidney’s Sonnet 71 compared to Shakespeare's work?
The comparison serves to highlight Shakespeare’s unique ability to use form to depict spontaneous emotion, whereas Sidney’s intricate rhyme scheme often emphasizes technical artfulness and a courtly display of skill.
- Quote paper
- Anne Thoma (Author), 2004, How does Shakespeare utilise the sonnet form to express emotion? Discuss with reference to at least three poems, Munich, GRIN Verlag, https://www.grin.com/document/25824
