(1)Smile
(2)Laughter
(3)Nice Personality
(4)Looks
(5)When I get up in the morning I think of you and knowing your there to be with me and you care about me and that you care for and respect me for who I am.
(1)Smile
(2)Laughter
(3)Nice Personality
(4)Looks
(5)When I get up in the morning I think of you and knowing your there to be with me and you care about me and that you care for and respect me for who I am.
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All the above are results, not reasons. There are no reasons - loving is unreasonable, but it makes the world go round.
What is 'the' in shakespearean?
There is no such language as "Shakespearean". Shakespeare wrote and spoke English. When he said "the" he meant "the" and that was the only word he ever used for the definite article. One can take any passage from Shakespeare and it is bound to crop up fairly quickly.
Are there techniques in shall i compare thee to summer's day?
No...
Joke, every poem has poetic features & techniques.
This poem has a rhyming scheme of ababcdcdefefgg.
It is a Shakespearian Sonnet.
It also has a fixed rhythm, giving the poem a strong sense of movement whilie also making the lines more memorable.
He uses many metaphors, the main one being comparing his wife to a summer's day.
What type of rhyme scheme does sonnet 43 have?
How Do I Love Thee?
How do I love thee? Let me count the ways. A
I love thee to the depth and breadth and height B
My soul can reach, when feeling out of sight B
For the ends of being and ideal grace. A
I love thee to the level of every day's A
Most quiet need, by sun and candle-light. B
I love thee freely, as men strive for right. B
I love thee purely, as they turn from praise. A
I love thee with the passion put to use C
In my old griefs, and with my childhood's faith. D
I love thee with a love I seemed to lose C
With my lost saints. I love thee with the breath, D
Smiles, tears, of all my life; and, if God choose, C
I shall but love thee better after death. D
That is the rhyme scheme of Elizabeth Barrett Browning's Sonnet 43 (How Do I Love Thee?)
How are sonnet 18 and 130 the same?
All (well, almost all--more than 98%) of the sonnets have fourteen lines, the same rhyme scheme, convey important and eternal truths and are equally biographical.
Working from the premise that the sonnets are autobiographical, these two particular poems do not appear to deal with the same events or people in Shakespeare's life.
The only thing that might possibly link these two sonnets, as opposed to factors which link all 154 of them, might be the theme of reality vs. portrayal in literature. In sonnet 18, Shakespeare notes the transience of earthly beauty, as compared to the lasting effect that a literary expression of that beauty can have. In sonnet 130, on the other hand, Shakespeare talks about the falseness of the standard similes found in literature to describe earthly beauty, as compared to the reality.
Read more on the evidence for biography in these sonnets at the link below.
What are the main three differences between Italian sonnet and English sonnet?
The Italian sonnet is divided into an octave, which is eight lines, and a sestet, which is six lines.
The English sonnet is divided into three quatrains, in other words, twelve lines, and a couplet.
The rhyme scheme for the Italian sonnet is a-b-b-a, a-b-b-a for the octave and either c-d-e-c-d-e, or c-d-c-d-c-d.
The Italian sonnet is divided into two parts.
The rhyme scheme for the English sonnet is a-b-a-b, c-d-c-d, e-f-e-f, g-g.
Who is the audience for Sonnet 18?
The audience for the original poem which became represented as Shakespeare's Sonnet 18 was probably the young aristocrat who appears to be the addressee of Sonnets 1-17 (and many others of Shakespeare's Sonnets). The main audience for its published replication(s) is that group of persons who love beautiful poetry.
There is strong evidence to show that the aristocrat was Henry Wriothesley, third Earl of Southampton, who was the dedicatee of Shakespeare's two long poems, Venus & Adonis and Lucrece. Read more at the link below to The Biography in Shakepeare's Sonnets.
The main clause of sonnet 29 begins the turn where is it?
A fixed pattern of accented and unaccented syllables in lines of fixed length to create rhythm you dumb wierdos
What pattern is used to make a shakespearean sonnet?
They are iambic pentameter with a rhyme scheme of ababcdcdefefgg.
What is the analysis of Pablo Neruda's sonnet It's Today?
It is the love eternal, love the L. When love lives love, it's on forever. Whi is love but living love's life with love. In the same vein is love's death love at all? Or is love the life love living with love's life. Pablo Nerudo does an excellent job at loving the death hands love life. The sleep in love's full-flowered existence is vain in living life's love in death. Loving life's brown love is eternal in the narrator's shadow of love's wind. Neruda's po0em expresses the song of love living life's eternal sand of love.
That's basically it; it's Today is one of my favorite poems, and Neruda is one of my favorite poets. Hope I could help!
-Stephen B.
Where does the turn of Shakespeare's Sonnet 30 take place?
Shakespearean or English sonnets don't have a "turn."
What is the rhyme scheme for sonnet 75?
As with all Shakespearean Sonnets, the rhyme scheme is ABAB, CDCD, EFEF, GG.
A Shakespeare sonnet does not have?
Your teacher probably wants you to say that a Shakespearean sonnet does not have a volta (the change in point of view which occurs between Octave and Sestet which is the defining characteristic of the Petrarchan sonnet).
This isn't quite true. Several of Shakespeare's sonnets have very obvious voltas. One of the most interesting is sonnet LX where the volta appears to fall between lines 7 and 8, making an interestingly asymmetric movement which I have seen nowhere else in poetry.
But Shakespearean sonnets don't usually have voltas, in fact only an author as daring as Shakespeare would even think of giving a Shakespearean sonnet a volta. (Though Donne, I suppose, was such another).
The sonnet form was popularized by Italian poet Petrarch in the 14th century. English poet Sir Thomas Wyatt and Earl of Surrey introduced the Petrarchan form to English literature, while William Shakespeare popularized the Shakespearean or English sonnet form.
Where were William Shakespeare plays and sonnets performed?
The sonnets cannot really be performed. The plays, on the other hand, have been played in many many theatres over the years, starting with theatres in Elizabethan and Jacobean London like The Rose, Newington Butts, The Theatre, The Curtain, The Globe, and the Blackfriars. The plays were also performed at court, in various palaces, in the homes of noblemen, and in other private venues like the hall of the Inns of Court (Law School). One notable performance was on a ship anchored off West Africa. Plus during times of plague, the company took their plays on tour, which means that they were performed in innyards and country homes all over southern England. We have no idea how many places saw Shakespeare's plays during these tours.
After the Restoration in 1660 performance continued at two theatres, Drury Lane and Covent Garden, but during the eighteenth century they were performed in more and more venues; by the nineteenth century, performances in America and Europe were common. Nowadays, you can see Shakespeare performed anywhere in the world.
"Thee" means you, so this sentence doesn't make sense. This is Old English. There is also a band named "Love you Thee" and also a stage play by this name, so I'm not sure what one you are talking about.
AnswerThe first response is correct. In modern english, it doesn't make much sense. If you use older grammar forms though, it would mean "love yourself."Actually it doesn't make sense in any form of English. It is not Old English -- "Loved" in Old English is "lufode" as found in line 1982 of Beowulf and I can't even write how they would spell "thee". It is not correct in Early Modern English either and does not mean "love yourself"; this would be "love thee thyself".
What is the most popular of Shakespeare's sonnets?
Sonnet XVIII: "Shall I compare thee to a summer's day", or
Sonnet XCVI: "Let us not to the marriage of true minds admit impediments"