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Sonnet 18 (also known as "Shall I compare thee to a summer's day") is one of the best-known of the 154 sonnets written by English poet and playwright William Shakespeare.. In the sonnet, the speaker asks whether he should compare the Fair Youth to a summer's day, but notes that he has qualities that surpass a summer's day, which is one of the themes of the poem.
Although Petrarch is accredited with perfection of the sonnet, Shakespeare still made changes in sonnet form and composition 200 years after Petrarch's death. While Petrarch's sonnets focused mainly on one hub, Shakespeare developed many subjects within his themes such as insomnia, slave of love, blame, dishonesty, and sickness.
Wordsworth's sonnet "Nuns fret not at their Convent’s narrow room" [15] echoes the same reasoning. Written after the poet's adoption of the Miltonic form of the sonnet (based on Petrarch’s), it reasons that the form's restriction "no prison is", but instead a solace for those "who have felt the weight of too much liberty". [16]
Original printing of Sonnet 18. In Sonnet 18 the speaker offers an extended metaphor which compares his love to Summer. [6] Shakespeare also makes use of extended metaphors in Romeo and Juliet, most notably in the balcony scene where Romeo offers an extended metaphor comparing Juliet to the sun. It is the east, and Juliet is the sun.
In Sonnet 20, the narrator tells the youth to sleep with women, but to love only him: "mine be thy love and thy love's use their treasure". In some sonnets addressed to the youth, such as Sonnet 52, the erotic punning is particularly intense: "So is the time that keeps you as my chest, / Or as the wardrobe which the robe doth hide, / To make ...
The sonnet sequence was a very popular genre during the Renaissance, following the pattern of Petrarch. This article is about sonnet sequences as integrated wholes. For the form of individual sonnets, see Sonnet. Sonnet sequences are typically closely based on Petrarch, either closely emulating his example or working against it.
The sonnets of Amoretti draw heavily on authors of the Petrarchan tradition, most obviously Torquato Tasso and Petrarch himself. [5] " In Amoretti, Spenser often uses the established topoi, for his sequence imitates in its own way the traditions of Petrarchan courtship and its associated Neoplatonic conceits". [1]
Shakespeare's sonnets are considered a continuation of the sonnet tradition that swept through the Renaissance from Petrarch in 14th-century Italy and was finally introduced in 16th-century England by Thomas Wyatt and was given its rhyming metre and division into quatrains by Henry Howard.