Question

1)Sonnet 116 ,60 by William Shakespeare

Critical Analysis of following chapters- UGC​

Answer 1

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The poet begins by stating he should not stand in the way of "the marriage of true minds", and that love cannot be true if it changes for any reason; true love should be constant, through any difficulties. In the seventh line, the poet makes a nautical reference, alluding to love being much like the north star is to sailors. Love also should not fade with time; instead, true love is, as is the polar star, "ever-fixed" and lasts forever.

The movement of 116, like its tone, is careful, controlled, laborious…it defines and redefines its subject in each quatrain, and this subject becomes increasingly vulnerable.[2]

It starts out as motionless and distant, remote, independent; then it moves to be "less remote, more tangible and earthbound";[2] the final couplet brings a sense of "coming back down to earth". Ideal love is deteriorating throughout the sonnet and continues to do so through the couplet.

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Answer 2

One of William Shakespeare’s (bapt. 26 April 1564 – 23 April 1616) great advantages as a writer was that, as a dramatist working in the public theater, he was afforded a degree of autonomy from the cultural dominance of the court, his age’s most powerful institution. All over Europe, even if belatedly in England, the courts of the Renaissance nation-states conducted an intense campaign to use the arts to further their power. The theater, despite its partial depend-ency on court favor, achieved through its material products (the script and the performance) a relative autonomy in comparison with the central court arts of poetry, prose fiction, and the propagandistic masque. When Shakespeare briefly turned to Ovidian romance in the 1590’s and, belatedly, probably also in the 1590’s, to the fashion for sonnets, he moved closer to the cultural and literary dominance of the court’s taste—to the fashionable modes of Ovid, Petrarch, and Neoplatonism—and to the need for patron-age. Although the power of the sonnets goes far beyond their sociocultural roots, Shakespeare nevertheless adopts the culturally inferior role of the petitioner for favor, and there is an undercurrent of social and economic powerlessness in the sonnets, especially when a rival poet seems likely to supplant the poet. In short, Shakespeare’s nondramatic poems grow out of and articulate the strains of the 1590’s, when, like many ambitious writers and intellectuals on the fringe of the court, Shakespeare clearly needed to find a language in which to speak—and that was, necessarily, given to him by the court. What he achieved within this shared framework, however, goes far beyond any other collection of poems in the age. Shakespeare’s occasional poems are unquestionably minor, interesting primarily because he wrote them; his sonnets, on the other hand, constitute perhaps the language’s greatest collection of lyrics. They are love lyrics, and clearly grow from the social, erotic, and literary contexts of his age. Part of their greatness, however, lies in their power to be read again and again in later ages, and to raise compellingly, even unanswerably, more than merely literary questions.