This paper tries to expose the differences between traditional "Petrarchan Sonnets" and "Shakespearean Sonnets", with a specific focus on Shakespeare´s sonnets 9 and 127.
In order to do this the author will firstly introduce the theory of traditional sonnets, particularly with regard to form, addressees and themes. Furthermore, I he will have a closer look at the abovementioned addressees of Shakespeare´s sonnets.
Table of Contents
1. Introduction
2. Traditional sonnets: Theory
2.1 Form
2.2 Addressees/ Ideal of beauty
2.3 Themes
3. Shakespeare’s sonnets
3.1 Interpretation of Sonnets 9 and 127 with regard to their addressees and their themes
3.2 What is new about the addresses of Shakespeare’s sonnets regarding to form, addressees and themes/ How do these sonnets differ from the tradition
3.3 Possible real identities of the ‘Young Man’ and the ‘Dark Lady’
4. Conclusion
Objectives and Topics
This paper explores the structural and thematic innovations of Shakespeare's sonnets compared to the traditional Petrarchan model, specifically focusing on the shift in addressees and the redefinition of beauty.
- Comparison of formal differences between Petrarchan and Shakespearean sonnets.
- Analysis of addressees, specifically the 'Young Man' and the 'Dark Lady'.
- Interpretation of Sonnets 9 and 127 as case studies.
- Examination of the Elizabethan ideal of beauty versus Shakespeare's unconventional representation.
- Investigation of potential real-life identities behind the sonnet figures.
Excerpt from the Book
Interpretation Sonnet 127
Sonnet 127 is the first Sonnet of the dark lady sequence, it is addressed to a woman called the ‘dark lady’ due to her outward appearance, her brunette hair and her dark eyes (cf. Hammerschmidt- Hummel 23). As it is usual for Shakespearean sonnets, the sonnet is divided into four parts, namely three quatrains and one rhyming couplet. The rhyme scheme is abab cdcd efef gg and it is written in iambic pentameter.
The poet introduces his sonnet by the words “In the old age black was not counted fair/ Or if it were, it bore not beauty’s name” (l. 1-2), therewith he tells us that the colour black doesn’t match the ideal of beauty at the time of Elizabeth I’s reign and however, what is called beautiful has changed, “now is black beauty’s successive heir” (l. 3). The statement “black was not counted fair” in line 1 seems to be a paradox at first glance. It is a contradiction since black as colour is not blonde. Blonde is the lightest hair colour whereas black is the darkest, so black obviously can’t be a nuance of the blonde hair colour. Nevertheless, the words ‘black’ and ‘fair’ have ambiguous meanings in this context. The term ‘black’ means dark and brunette, ‘fair’ means light or blonde, but it additionally means beautiful.
Summary of Chapters
1. Introduction: Outlines Shakespeare's background and sets the scope of the paper to compare traditional Petrarchan sonnets with Shakespeare's, focusing on an exemplary analysis of Sonnets 9 and 127.
2. Traditional sonnets: Theory: Defines the formal characteristics and thematic conventions of the Petrarchan sonnet, highlighting the ideal of beauty prevalent in the Elizabethan era.
3. Shakespeare’s sonnets: Provides a detailed analysis of Sonnets 9 and 127, discusses formal and thematic departures from tradition, and reviews scholarly theories regarding the historical identities of the addressees.
4. Conclusion: Summarizes the key findings, reiterating that Shakespeare redefined the sonnet tradition by introducing a more reachable, humanized subject and challenging contemporary beauty standards.
Keywords
Shakespeare, Sonnets, Petrarchan, Shakespearean, Dark Lady, Young Man, Procreation, Elizabethan, Beauty, Form, Rhyme Scheme, Literature, Renaissance, Identity, Interpretation.
Frequently Asked Questions
What is the primary focus of this paper?
The paper examines the differences between traditional Petrarchan sonnets and Shakespeare’s sonnets, focusing on formal changes, thematic shifts, and the nature of the addressees.
What are the central themes discussed?
The central themes include the Elizabethan ideal of beauty, the concept of procreation, mortality, and the subversion of traditional love tropes.
What is the main research goal?
The goal is to illustrate how Shakespeare diverged from the Renaissance sonnet tradition regarding form, content, and the depiction of his subjects.
Which methodology is employed?
The author uses a literature-based analysis, providing exemplary interpretations of Sonnets 9 and 127 and comparing them against established sonnet theory.
What does the main body cover?
It covers the formal structure of sonnets, the historical and aesthetic context of the addressees, and critical debates surrounding the identity of the 'Young Man' and 'Dark Lady'.
Which keywords define this work?
Key terms include Shakespeare, Petrarchan Sonnets, Dark Lady, Young Man, and Elizabethan ideal of beauty.
How does Shakespeare's 'Dark Lady' differ from the Petrarchan ideal?
Unlike the unreachable, goddess-like figures of Petrarch, the 'Dark Lady' is depicted with realistic human characteristics like dark hair and eyes, challenging the era's standard of beauty.
What is the significance of the 'Procreation Sonnets'?
They represent a distinct group of poems (1-17) where the poet urges the 'Young Man' to marry and have children to ensure his beauty survives the passage of time.
What theories exist about the identity of the 'Young Man'?
The most prominent theories suggest the addressee could be Henry Wriothesley, 3rd Earl of Southampton, or William Herbert, 3rd Earl of Pembroke.
- Quote paper
- Nicole H. (Author), 2016, Comparing Shakespearean and Petrarchan Sonnets. Shakespeares Addressees in his Sonnets 9 and 127, Munich, GRIN Verlag, https://www.grin.com/document/471267
