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The meter demands a few variant pronunciations: line 5's "spacious" and line 7's "gracious" must each fill out three syllables, while line 11's "being" functions as one. [ 2 ] Analysis
Published in Shakespeare Quarterly, Hays wrote, "The history of the paleographic argument connecting Sir Thomas More and Shakespeare is a narrative of ambiguous terms, misconceptions, and mistakes." He went on to write that the arguments presented were without scientific merit because there exists no control sample of Shakespeare's writing. [ 33 ]
Shakespeare's Sonnet 58 is a syntactic and thematic continuation of Sonnet 57.More generally, it belongs to the large group of sonnets written to a young, aristocratic man, with whom the poem's speaker shares a tempestuous relationship.
Barbara Estermann discusses William Shakespeare's Sonnet 73 in relation to the beginning of the Renaissance. She argues that the speaker of Sonnet 73 is comparing himself to the universe through his transition from "the physical act of aging to his final act of dying, and then to his death". [3]
After more than a year James Spedding wrote to the same publication in support of that particular suggestion by Simpson, saying that the handwriting found in Sir Thomas More "agrees with [Shakespeare's] signature, which is a simple one, and written in the ordinary character of the time." [25]
The stressed nonictus "rude" increases the heaviness of the list. An initial reversal is also found in line 9; mid-line reversals potentially occur in lines 9 and 14. The meter demands a few variant pronunciations: line 3's "murderous" functions as two syllables, line 5's "despised" as three, and line 14's "heaven" as one. [6]
The final -ed is syllabic in line 7's 3-syllable "burièd", line 9's 3-syllable "famousèd" and line 11's 2-syllable "razèd". [4] Stephen Booth notes that the original typography suggests that the final rhymes may have been intended to be trisyllabic: "belovèd" and "removèd", [ 2 ] although other editors (like John Kerrigan ) prefer the ...
The sonnet exhibits some metrical variations, for example, an initial reversal in the 2nd line: / × × / × / × / × / Knowing a better spirit doth use your name, (80.2) Reversals can also occur mid-line, as occurs in line 5; and some may be optional, as the possible initial reversals in lines 1 and 13.