“Sonnet 130” is characterized by a profound inner beauty which emphasizes the strength of the poet’s lyrics and elevates love on a higher more intimate level. The author’s style reveals great skills of Shakespeare in the use of such devices as metaphors and a simile which actually opens the poem his mistress’ eyes are compared to the sun. Further, the simile is followed by a number of metaphors which perfectly characterize his mistress, for instance, her breasts are compared to snow and hair to wires.
Nonetheless, this poem is not an extraordinary work but, on the contrary, it is a typical sonnet written by Shakespeare in his particular style and form. The sonnet has three quatrains and a couplet and the rhyme scheme may be presented as follows: ababcdcdefefgg. The a sound is made with the help of an ‘-un’ rhyme while the b sound is made of an ‘-ed’ rhyme. The c sound is made of an ‘-ite’ rhyme while the d sound is made of an ‘-eeks’ rhyme. Respectively, the e and f sounds are made of an ‘-o’ and ‘-ound’ rhymes. And the g sound ending the poem is made of an ‘-are’ rhyme.
Furthermore, it should be pointed out that the setting of the poem creates quite a realistic impression as if the poet had created a sonnet that was written about someone’s mistress that he described in his work with eyes like the sun and lips as red as corals. On analyzing the poem in depth, it seems to be quite ironic compared to other poems created in that epoch. This irony or mockery may be traced in the poet’s attitude to her mistress which might have been a goddess but in actuality she was not, but, nevertheless, he loved her for what she was.
In general, it is possible to say that from the point of view of its content and Shakespeare’s feeling and emotions the format of the sonnet served two purposes. Firstly, the poet attempted to convey to readers the idea that regardless of all drawbacks of his mistress which did not fully correspond to an ideal image of a fair woman, there was still a strong kinship between them that not a single person on the earth, even his wife, could share with him. In fact, physical beauty was not important for the author, instead, he was rather more concerned on their spiritual unity and their striking similarities in their views and ideas. Secondly, Shakespeare underlined that he did not really need a stereotyped ‘mistress’ every other man would dream about possessing all the virtues and qualities other men appreciated in women. In fact, he rejected such attitude to the woman he really loved. For instance, in line 13 the poet says that he loves the woman that is rare or extraordinary. Obviously, he implies that he doubts that he can love the woman that is actually not beautiful, but at the same time he realizes that this woman offers him companionship that is much more important than a good look.
In fact, this sonnet depicts a perfect sample of a true unconditional love. Though his mistress’ lips are mot full, he yearns for them, and her cheeks are not rosy, but he still feels her glow. Neither her hair nor her breath are perfect but the poet is irresistibly captivated by this woman, even though she cannot sing to save her life, he paradoxically loves her voice. When she walks she is not very graceful but he still cherishes her clumsy strides. This is why it is possible to conclude that the author of the poem has learned to love with his heart and not his eyes.
In Othello’s soliloquy in Act V, scene 2 the main tragedy of this play develops and comes to its end. At this point Othello prepares himself to kill his beloved wife. Is very jealous, his honor has been seriously wounded after Desdemona’s betray. Here it’s clearly seen the contrast: the speaker (Othello) prefers much more the subject of love in the person of his feeling that has been torn apart. The man can’t face the truth and he can’t forgive himself, first of all.
He finds that it’s unjust to kill her, but he can’t realize it, he hesitates, because he still loves her and her beauty tries to stop him: “Yet I’ll not shed her blood; Nor scar that whiter skin of hers than snow, And smooth as monumental alabaster”. So it seems that he is ready to sacrifice his honor for her, but he can’t. It’s too much for him. The hesitative tone is typical for the whole soliloquy, but it doesn’t mean that it can stop the man from killing. “But once put out thy light, Thou cunning’st pattern of excelling nature, I know not where is that Promethean heat That can thy light relume”. The word ‘cunning’ means deceit, but Othello is using that word in the other sense. For him the word ‘cunning’ is a synonym of great, even magical knowledge.
So, “cunning pattern” here is Desdemona herself, a unique masterpiece of nature, that can be only imitated, but not equaled.
This means, Othello understands what a big crime it is to kill a human being, to bring back her to life would require the fire that Prometheus stole from the gods. This is symbolism, a characteristic feature of value of a person’s life. And it is shown here wonderfully. He kisses her and his struggle against his feelings becomes even more difficult: “Ah balmy breath, that dost almost persuade Justice to break her sword! One more, one more.
Be thus when thou art dead, and I will kill thee, And love thee after. One more, and this the last: So sweet was ne’er so fatal. I must weep, But they are cruel tears: this sorrow’s heavenly; It strikes where it doth love. She wakes’. When he reminds himself that he is here for ‘justice’, that she must die, he can’t help himself from crying. So, there’s a bright contrast between Sonnet 130 and Othello’s soliloquy. When in the first, the speaker tends to overestimate his love, to exalt, to ‘lend wings’ to his beloved person, in the second, Othello is so dried up with his love, that he wants to get rid of it as soon as it’s possible.
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