explain the use of imagery in the Sonnet True love
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Answer:
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Explanation:
When the sonnet was imported into English from the Italian, early in the sixteenth century, it was understood to comprise a set of formal conventions (fourteen lines of iambic pentameter, a fixed rhyme scheme) and, of equal importance, a set of thematic and rhetorical conventions. Sonnets came in groups, or sequences. They told a story; or rather, they refused to tell a story outright but were built around a story that took place in the space between individual lyrics. The story was of love -- love unrequited, love requited but unfulfilled, love so fleetingly fulfilled as merely to make suffering keener, love thwarted by the beloved's absence, or aloofness, or prior possession by another. Impediment was as central to the sonnet as was love. Impediment produced the lyric voice. Without impediment, the lover would have no need to resort to poetry; he would have something better to do.
Naturally, the sonnet underwent some changes in English. It is harder to find rhyming words in English than in a highly inflected language like Italian, so Wyatt and Surrey -- early Tudor practitioners of the form -- tended to grant themselves a slight reprieve. Instead of the tighter scheme favored by Dante and Petrarch (abbaabba cdecde or abbaabba cdcdcd), the English favored a pattern (abab cdcd efef gg) that demanded only two instances of a single rhyming sound. This apparently superficial accommodation came to have profound structural consequences. For the sonnet no longer divided primarily into two parts (an octave and a sestet) but rather into four (three quatrains plus a couplet), which were capable of shifting internal alliances. This in turn had powerful consequences for the shape of argument.
Argument had always been one of the common rhetorical modes of the sonnet, but it was the English who made argument supreme, subordinating every other rhetorical momentum. No longer was the sonnet exclusively dominated by the interior logic of meditation or the associative logic of image; no longer was the poet content to dwell upon fugitive sightings of the beloved. The poet had a case to make and a primary audience of one: you, dear creature, should return my love for any number of excellent reasons which I could name; yHere is William Shakespeare's Sonnet 116:
Let me not to the marriage of true minds
Admit impediments. Love is not love
Which alters when it alteration finds,
Or bends with the remover to remove.
O no, it is an ever-fixèd mark
That looks on tempests and is never shaken;
It is the star to every wand'ring bark,
Whose worth's unknown, although his height be taken.
Love's not time's fool, though rosy lips and cheeks
Within his bending sickle's compass come.
Love alters not with his brief hours and weeks,
But bears it out ev'n to the edge of doom.
If this be error and upon me proved,
I never writ, nor no man ever loved.ou should put aside this reticence; you should grant me a kiss; you should grant me more than a kiss; you should be faithful only to me; you should be as I imagine you to be. Praise and blame pervade the poetry of love but, in English, praise and blame are incidental to the sonnet's primary business, which is persuasion. Love's story may be oblique, but love's argument is mounted directly. And, since the sixteenth century, that argument often stands or falls upon the couplet.