Sonnets are poems characterized by
the way they are structure. They have fourteen lines in which the last two
lines are a rhyming couplet. However, the poems that were selected for today’s
readings seem to be organized by theme. The fact that all of these poems were
written either during the Renaissance or the Enlightenment period in Europe may
account for the trends in theme.
The
first set of poems, those by Sir Phillip Sydney and Sir Thomas Wyatt, both have
a melancholy tone and center on the love of a woman. Wyatt’s sonnet speaks more
directly of suffering due to the love that he feels for the woman in question.
However, lines from Sydney’s sonnets like, “might take some pleasure of my paine”
and “I sought fit words to paint the blackest face of woe” are pretty dismal.
The archaic language in these poems required me to read carefully in order to
ensure that I was gathering the meaning of the poem fully.
The
primary themes of the given Shakespearian sonnets seem to be, the unavoidable
march of time, and the disparity between different societal positions. Both of
these themes reflect some of the concerns that were shared by many of the
people during Shakespeare’s lifetime. During the Renaissance concerns with
matters of this life began to be weighed more heavily than they had been in the
past when matters of the afterlife were paramount in the mind of the general
public. Physical existence is almost entirely governed by time. Therefore an
interest with physical existence is likely to be paralleled by a concern with
all things temporal. The theme of social injustice is also indicative of
worldly concerns.
When I
first read the selections from the Holy
Sonnets by John Donne I assumed that they must have been written in the
1800’s during the Catholic reformation. However, these sonnets were written
during the early seventeenth century. Their religious theme is more than likely
an indication of Donne’s own religious anxieties regarding Catholicism and Protestantism,
which were no doubt shared by many during this time.
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