Shakespeare’s synthesising of poetic techniques arose inspiring the world of gothic. By holding the first step Shakespeare demonstrated his individuality. Ironically, the poet regarded to as “the greatest poet in the English language” and “the pre-eminent of drama” determined his own perspective. The relevance to society is omnipresent. The destabilising and re-stabilising plots of Gothic texts are often mixed, in an appeal to authority and love romance. Gothic visions are highly based on gender with males symbolising power. Furthermore, Gothic's rely heavily on intertexuality, producing a sense of uncertainty and depth. The purposes of Gothic texts are to formulate coherent explanations of events and experiences conflicting, in turn, individualising traditional procedures. John Drakakis' book, 'Gothic Shakespeare' states, 'Shakespeare's plays are full of ghosts, suspense, fear-inducing moments and cultural anxieties which many writers in the Gothic mode have since emulated, adapted and appropriated'. The relationship states William Shakespeare as an inspiration for Gothic. Perceptions have since been transformed through gothic visions.
William Shakespeare's' texts are established through gothic love, contemplated to be true love, honest love or lust. Conflict accompanies love in Shakespearian texts, whether it is moments of irrationality, pain, or deceit. William Shakespeare had great influence.
Love is developed in 'Sonnet 116' expressing Shakespeare's definition of true love. Pun, 'Love is not love' (Shakespeare two) perceives irony, forcing readers to reason with the question, what is love? 'Sonnet 116' challenges loves purity 'alters when alteration finds' (Shakespeare three), effectively reasoning love. Furthermore, a conquering thought is produced in a reader.
In addition, love is demonstrated to never differentiate. Metaphor, describes love as an 'ever fixed mark' (Shakespeare five), characterising naturally irreversible traits which remain unique to an individual. Provoking imagery that love is fixed and forever. The tone of 'Sonnet 116' is carful, controlled and laborious portraying mastery. Extended metaphor, redefines the concept. The metaphoric images give love tangency. According to scholar, Lucas Erne the sonnet seems to define love as a negative; “the first and the third quadrants, it is true, define love negatively: ‘love is not’…’ Love’s not…’ The two quatrains are further tired together by the reappearance of the verbs ‘to bend’ and ‘to alter’.
In 'Sonnet 116', Shakespeare used conflict to create a separation between true, constant love and untrue, deceiving love. Shakespeare’s first quadrant personifies the poem, “let me not” (Shakespeare one). The syllables of 'impediments' (Shakespeare two) have the stresses on both of the “Im” determining a personal endeavour. The synecdoche, 'marriage of true minds’ (Shakespeare one) specifies love as pure, joyous and committed
Love is affected by the human condition. Personification, 'bears it out' (Shakespeare twelve) suggests love unpleasantly waits. The use of personification incorporates humans. Alternatively word choice, 'edge of doom' (Shakespeare twelve) is strongly inferior, describing loves wait. The sonnet states love contaminated by the human condition. Statement, 'upon me proved' ensures the texts conviction and clarity. Furthermore, the overpowering sonnet leaves a reader with a claim of which they can trust.
William Shakespeare’s view emphasised major issues. Using his poetic genius, allowing society to view them too, brought many to realise the mendacity of their love. William Shakespeare produced texts that conflict and re-establish. However, though Shakespeare’s persuasion is relevant, his affliction is overlooked.
William Shakespeare wished for a son to carry on his direct legacy. Hamnet Shakespeare, William Shakespeare’s only son died in 1596. 'Sonnet 37', argues the position of a 'decrepit father' (Shakespeare one). Concluding highly suggestive of a personal experience through the word choice of 'father' and ‘active child', both personal. The inclusion of an adjective of possession, 'his', produces imagery of both father and son. However, the father being “decrepit, a separation is also incorporated. The separation described, 'by fortunes dearest spite' (Shakespeare three). Suggesting the persona crippled due of fortunes hate. Crippled, referring to the inability to see the son again. A personal pronoun 'I' is used to emphasise the statements personal affliction.
Line three is strongly suggestive of a regret of past decisions. The effect of 'worth' and 'truth' on the individual in context, suggests comfort ('comfort of thy worth and truth' - Shakespeare four). The sonnet is written as an extended metaphor. Increased vulnerability serves equal to 'sonnet 116'. The adjective 'Take' (Shakespeare four) produces imagery of 'worth' and 'truth' being taken as consequence of 'fortunes spite' (Shakespeare two), suggestive of a personal affliction occurring in the composer’s life.
The young man mentioned in Shakespeare’s texts serves as the love for his son. Scholars argue that William Shakespeare was homosexual because of these references; “over the centuries some readers have posited that Shakespeare’s sonnets are autobiographical, and point them as evidence for a young man –Wikipedia. Shakespeare used grief to produce imagery through substantial descriptors, to include a reader in experience. 'Sonnet 37', speaks in direct to make a promise. Line three is demonstrative, 'for whether beauty, birth, wealth or wit...I make my love engrafted to this store'. The persona clearly states his commitment for a love. Metaphor, 'this store' acts to represent society. William Shakespeare grew belief that his love was never satisfied toward his son. The love in line three is reflective of the young man. The persona says that their love will be spread around the world. The belief Shakespeare inherited, that his spreading of love would induce a balance, is highly suggestive of religious perceptions. An analytical perspective, demonstrates the persona in deep sorrow due to an affliction. Line three, is perceived as a promise to an afterlife, or an internal recovery process. Defining between is unlikely to occur due to the distance of era.
Quadrant four of the sonnet, contradicts line three's promise. A paradox, used in line fourteen distorts meaning of the sonnet, suggesting confusion ('look at what is best... this wish I have... ten times happy me.’ Line fourteen, suggests a perspective of stubbornness. The persona surrenders their ability to choose best, however emphasizes their wish. The contradiction of meaning reflects Shakespeare's own wit. However, under close examination, the persona is saying that their wish is the choice of their loves best.
Throughout 'Sonnet 37', William Shakespeare represents his love for the young man. Statistics demonstrate the death rate of children under 10 years old, be one third in the Elizabethan era. Implying, the persona's outlook is delusional. An outlook like such incorporated the human condition. William Shakespeare used his own affliction to demonstrate this flaw.
William Shakespeare has inspired great writers since his death in 1616. His poetic style has helped scholars understand literature through not only the words, but also the writer themselves, allowing personal depth to texts of the English language. Shakespeare represented the world as is, without rummage. Shakespeare’s works are able to survive translations. His works gradually became more critical as time progressed. Shakespeare used analogies to produce his connotations. However, although most writers use analogies, Shakespearian analogies incorporate in which relate to a focused centre. Other styles of analogies are effective, but only if an understanding was in a reader. This is best analysed by a comparative diagram:
See appendix -
(Figure A, Figure B)
William Shakespeare’s analogy is much more focused, allowing depth to issues without corrupting the centre focus. An understanding people could then relate to is formed. This structure is evident in many texts produced in the 21st century, example, plays and poetry.
'Sonnet 117' incorporates outrages questioning. Evident in line one, 'Excuse me thus'. Adjectives of possession such as 'I', 'your', and 'me' are indicative of personal endeavors. Sonnets, traditionally express intense love or grief. The sonnet uses metaphorical analogies. The suggestions underlying the text mock authority. The city's, are described as 'great deserts'. The characterization of a desert degrades upon effect. Further, an analogy to true minds is produced through the descriptor of 'unknown minds'. 'Sonnet 116' defines true love. Therefore, a reader is forced into the contradiction of true love. Similarly, the effect causes a reader to question loves true meaning.
'Sonnet 117' indicates loves clarity. Love is described as a 'purchased right' (Six). Imagery of a level frowning (eleven) serves as the descriptor. The effect stamps readers with imagery of love being a right of wealth.
'Sonnet 117', focuses upon the jealousy of love. In the couplet, the persona states adjectives of intention, 'constancy, and virtue'. These qualities are demonstrative of loves rarity. The persona, 'giv'n to time' the 'purchased right' suggests love being a human condition. The jealously of love is produced by the human condition. 'Sonnet 117' is to be concluded as didactic. The purpose reflects a perspective justifying love.
William Morris was a romantic poet/artist from the 19th century. Obsessed with his wife’s mendacity and his love for the medieval, Morris was against the industrial era as he saw it diminishing the purity of love. Morris was a man of vision and mad wit. His poem, 'Love is enough', serves demonstrative.
William Morris’ 'Love Is Enough' deals with love and conflict. However, conflict being the more prominent notion. Morris wrote the poem to denote his hatred of the industrial era through evolving it around his lost wife. Morris could never allow his wife leaving him, although he never showing with violence. Instead, he wrote of her in poetry. 'Love is enough' describes the relationship between love and conflict. By using third person narration throughout the poem, 'Love is enough' demonstrates a personal quality that amplifies the poems effect, allowing a transfer of anger. Morris said, “A village cottage represents everything that is beautiful about the English countryside”. William Morris was a man living in the past; demonstrated this through his various artworks, his love for medieval culture, and his poetry.
Jealously understates as the main concept in both texts. Effectively using analogy's to produce related allegorical descriptors is evident in both poems.
'Love is enough demonstrates the wholeness of love. Suggestively, the world is filling with corruption, 'the world be a waning'. 'Love is enough' uses analogies of Shakespearian form. The connotations are all related to a centre focus. The outlining similarity in connections incorporates natural beauty, 'woods', 'hills and 'daisies' (two, four, five). The subject sees love as natural, reflecting Morris's personal perspective. 'Sonnet 117' concludes love as unfamiliar and corrupted, reflecting Shakespeare's personal perspective. Shakespearian analogies allow an inclusion of personal depth in texts. Both texts are demonstrative, attesting the influence. Therefore, without a Shakespearian analogy, Morris' 'Love is enough' would hinder on effect.
William Shakespeare’s introduced over 1700 words into the English language. Words such as "assassinate”, “champion”, “torture”, “accused”, “addiction”, “excitement", “etc. All demonstrating his synthesising wit. It has been argued, Shakespeare was a “bad speller” however, considering out of his 37 known plays, only 2 are written in full verse. Shakespeare believed in his own procedure. He determined many variations of poetic techniques, and revolutionized writing as result. Shakespeare’s definitions have contributed in creating modern stereotypes.
The effect of lust is symbolized in 'Sonnet 129'. The way sex is addictive and without rationale. The included word choice, 'spirit', 'hell' and 'heaven' strongly suggest religious perspectives. A strong generalization submits 'Sonnet 129'. Line one, implies the 'expense of spirit' is wasted. A paradox is conceived, focused on an unworthy expense. Line two incorporates repetition of 'action' and 'lust'. Imagery of lustful action is described. Religion heavily influences the rhetorical purpose of 'sonnet 129'. Traits mentioned, 'violent', 'savage', 'cruel', 'rude' etc, symbolize a biblical reference.
Quadrant two is demonstrative of the carelessness and desire of lust. Suggesting that past experiences are 'killed'. Strongly implying an attitude of immaturity. The quadrant describes the action, wrong. An analogy of 'swallowed bait' stimulates senses of foulness. Line eight states lust being selfish. The persona describes people with lust as barbarous, 'the taker becomes mad'.
Quadrant three describes lust as a medieval desire. Lust on a human causes loss in control. The word choice of 'pursuit', 'extreme' and 'quest' are indicative. Possession is emphasized in quadrant three. The word 'pursuit' is accompanied. Imagery produced, exhibits an inhumane being on a mad quest for lust. Quadrant three, didactically demonstrates lust as an outdated craving.
The quadrants are in rhyme, ABAB. Mixing the couplets compels readers to read the sonnet, incomplete. The underlying effect is partial satisfaction. Complimenting the sonnet's concept of an incomplete quest.
The couplet, demonstrates society as without consent. 'Sonnet 129' says that society is aware of lusts deception, 'well knows'. The sonnet, further states society does not avoid lust, 'no one knows well'. Strongly suggesting, all humanity thinks identical towards sexual desires, described; 'deceiving heaven'.
'Sonnet 129' states affliction of lust. The tone strongly proposes a derogatory perspective. The rhetorical purpose, overstates society. A reflection is allegorically implied, to examine mistakes. William Shakespeare's perspective of a lustful man is demonstrative in this text.
Shakespeare defines the effect of sexual desire as a great human flaw. The sonnet implies lustful behaviour is against religious views, 'to shun the heaven' (fourteen). 'Sonnet 129' presents an argument against lust and produces a perception of disgust and untruthfulness through an extended metaphor. The lust created in 'Sonnet 129' is stereotypical of the 21st century. Shakespeare’s ability to define and argue against issues way by looking to the future inspired many to chase their own desire.
William Shakespeare examined ideas relevant to society and successfully engaged his audience through his genius interpretations. Throughout this paper, I have tried to convince you that William Shakespeare is the father of modern English. His ability to synthesise poetic techniques in 'Hamlet' and 'Richard III' amplifying their effect, revolutionised literature. Producing a connection between love & conflict in 'Sonnet 116', innovated perceptions of the English language. His definition in 'Sonnet 129', contributed to the structure of Modern English. William Shakespeare’s texts have been translated into every major language due to specified analogies, thus allowing scholars to interpret their true meaning. Approximately 157 million pages are in Shakespeare's name. God, a major contributor of society, has 132 million pages. William Shakespeare guided the future. Using the death of his own son in 'Sonnet 36' to show the world their faults, demonstrated his clarity.
William Shakespeare’s texts are to be summarised as exact representations of the world. In final conclusion, his contribution to modern English is ubiquitous. William Shakespeare was not for an age, but for all time- Ben Jonson, friend of William Shakespeare.
Works cited:
Cited: 23.9.12
Cited: 27.9.12
Cited: 23.9.12
Cited: 24.9.12
Cited: 25.9.12
Cited: 24.9.12
Cited: 30.9.12
Cited: 29.9.12
Cited: 5.10.12
Cited: 6.10.12
Cited: 4.10.12
Cited: 2.10.12
Cited: 3.10.12
Cited: 28.9.12
Cited: 28.9.12
Cited 24.9.12
http://books.google.com.au/books/about/Gothic_Shakespeares.html?id=hzgjzI3-vVoC&redir_esc=y
Cited 14.11.12
http://www.brainyquote.com/quotes/quotes/w/williamsha131305.html
Cited 15.11.12
http://www.primaryresources.co.uk/english/PC_concomp.htm
Cited 15.11.12
Appendix
Figure A)
Figure B)