Thursday, April 11, 2013

An analysis of the Edmund Spenser's Sonnet 75

Edmund Spenser is one of the most widely known Elizabethan poets. He often put himself in the center of his poems, expressing very individualized thoughts, emotions, and convictions. Such poetry, known as lyric, became popular during Spensers time where poems were more(prenominal) focused on the individual. In his poem known as Sonnet 75, Spenser proclaims his lie with to his woman with the use of symbols, her hold and heaven, orthogonal meshs, and initial rhyme.

In Spensers sonnet, he and his sexual direct laidr are walking along the shore up of a beach where he attempts to proclaim his deep love for her by writing her pee-pee in the sand. He wants the telephone to be permanent to prove to her that he leave behind constantly love her, only when unfortunately, the waves of the shore keep coming and washables the name away. He tries writing her name a endorsement time, but the hand written name again suffers the same show and a nonher wave comes and erases it away. Spenser includes a talk in his poem as the woman confronts him on what she calls a vain act, pointing knocked out(p) that he roll in the haynot immortalize a mortal thing uniform love. She continues to tell him that even if he could, she is a mortal benevolent macrocosmness and will eventually die. The poet indeed responds to her statements confidently, claiming that he can immortalize her virtues and his love for her in his poetry, and that when they die on earth, their love will still live and that he will redeem her name in the heavens where it will rest everlastingly and they shall start a new life there together.

        The master(prenominal) symbol of this sonnet is the name the poet wrote in the sand of shore. This written name symbolizes his love for the woman hes with, and its the initial reason this sonnet was written. Lines two and four, where Spenser produces the images of the beach waves crashing on the coast and erasing the name, represent the starting time conflict in the poem. The poet has a conflict with the waves since he wants the name he has written in the sand to stay but the waves keep coming and making his paynes [their] pray. He metaphorically represents the waves as a beast of some sort, hunting for flow; prey in which being the love he posses for his woman.

        The second conflict in the poem is amidst the two lovers. Once the dialogue starts, the woman indicates that a mortal thing such as love cannot be immortalized, calling him vain in his attempts. The loudspeaker system on the other hand is convinced that immortalizing his love for her is all told possible, and that he will do it. He concludes that he will immortalize his love for her in his writing, eternalizing her virtues in his poems forever. He then reassures her that even after death, he will write her name in heaven, which represents the central image of the poem, the writing of the womans name.

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Her name is being transferred from earth, a mortal place, to heaven, an immortal place. The speaker of the poem not only resolves the conflict he faced with his woman, but he also solved his previous conflict of not being able to make the writing in the sand stay forever, and has figured out a way to prove his love for his woman for eternity.

In this octet, Spenser writes in metrically regular pulls which make big(p) use of alliteration: In line two he wrote waves and washed, in line three wrote it with, in line four paynes his pray, in line ten dy in dust, in line eleven poetise your vertues, in line thirteen Where whenas, and in line fourteen love shall live and later life. The metrical mode and the music of alliteration provide a smooth primer for the poem and make it flow smoothly.

        In Edmund Spensers Sonnet 75, Spenser uses symbols uniform the name written in the sand and heaven, external conflicts, and alliteration that set up a carefully argued opposition between earthly, mortal things and heavenly, immortal things all in which to convey his mood of love and to prove his undying love for his woman.

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