![]() ![]() In a narrow sense, ‘form’ is “that in virtue of which the parts are related one to another” (Nowottny 111). It is the conveyance of emotion with means that are part of the form. Yet, there is something unique about Shakespeare’s poetry, something which is not purely derived from the substance but to a large extent from the structure. He adopts the rhyme scheme that Surrey established (abab – cdcd – efef – gg) (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). Indeed, with regard to the sonnets, Shakespeare does not seem to be very inventive as far as the form is concerned. This can be read as a claim that form must be subordinated to substance (Hubler 241). 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). 1 An outline of the contents of the SonnetsĢ Preliminary remarks about the sonnet: what it is, what it can achieveģ Internal divisions in the original Italian sonnetsĤ Internal divisions in Shakespeare’s SonnetsĤ.1 Logical, formal, and phonetic patterns in Sonnet 29Ĥ.2 Logical and syntactical patterns in SonnetĤ.3 Meter, rhyme scheme, and syntax – Shakespeare’s Sonnet 23 and Sidney’s Sonnet 71 comparedĪppendix: Shakespeare’s Sonnets 4, 23, and 29 Sidney’s Sonnet from Astrophil and Stella Introduction ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |