Sonnet 130 and My Ugly Love Contrast and Comparison Essay

Sonnet 130 and My Ugly Love Contrast and Comparison Shakespeare’s sonnet 130, â€Å"My mistress’ eyes are nothing like the sun† and Pablo Neruda’s â€Å"My ugly love† are popularly known to describe beauty in a way hardly anyone would write: through the truth. It’s a common fact that modern lovers and poets speak or write of their beloved with what they and the audience would like to hear, with kind and breathtaking words and verses. Yet, Shakespeare and Neruda, honest men as they both were, chose to write about what love truly is, it matters most what’s on the inside rather than the outside. The theme of true beauty and love are found through Shakespeare and Neruda’s uses of imagery, structure, and tone. The imagery portrayed in both†¦show more content†¦In like manner, the last verse in Neruda’s sonnet, â€Å"My love: I love you for clarity, your dark† could be interpreted to mean that the speaker loves his beloved to continue being a mystery for him in so that he could find more beautiful qualities about her by focusing on her unattractive qualities first. Similarly, Shakespeare’s last couplet, â€Å"And yet, by heaven, I think my love as rare as any she belied with false compare† display’s the speaker’s love for what is real rather than how his beloved ought to be. In brief, the imagery plays a huge part within both sonnets because it can give readers insight as to how the speakers think. Shakespeare and Neruda’s poem are obviously known to be sonnets, however they don’t both share the same structure; Shakespeare’s is of course a Shakespearean sonnet containing fourteen lines and has a particular rhyme scheme (ababcdcdefefgg), but Neruda’s sonnet doesn’t follow Shakespeare’s or the traditional Italian sonnet. Rather, Neruda’s sonnet does indeed contain fourteen lines, but most follows the free verse sonn et structure, since there is no rhyme scheme. Yet, likewise, both sonnets do present a problem in the first verses and then develop towards a solution. In the following, on Neruda’s lines, â€Å"My ugly†¦My beauty†¦Ugly:†¦Beauty:..† the speaker starts acknowledging his beloved that he is proud she is his for him to say â€Å"my†, but as theShow MoreRelatedA Comparison of Shakespeares Sonnets 116 and 1301354 Words   |  5 PagesComparison of Shakespeares Sonnets 116 and 130 Shakespeare examines love in two different ways in Sonnets 116 and 130. In the first, love is treated in its most ideal form as an uncompromising force (indeed, as the greatest force in the universe); in the latter sonnet, Shakespeare treats love from a more practical aspect: it is viewed simply and realistically without ornament. Yet both sonnets are justifiable in and of themselves, for neither misrepresents love or speaks of it slightingly. IndeedRead MoreAnalysis Of Shakespeare s Sonnet 130 1048 Words   |  5 Pages 2015 Sonnet 130 Shakespeare’s â€Å"Sonnet 130† uses imagery to compare his lover to other objects in order to convey his true feelings towards his mistress. With this idea, one can make the assumption that Shakespeare’s argument is accepting the normality of women by understanding that they don’t all look like supermodels or goddesses. His views about his mistress can relate to how present day men look at their significant other. Shakespeare’s view towards women shifts between his sonnets. ComparingRead MoreLanguage of Advertising20371 Words   |  82 Pagesand persuasive words in our language. You Discovery Safety Money Proven Results Love Guarantee Save New Easy Health. Notice the overused word free is not on the list. As excited as you may be about your product or service the largest ad with the boldest type doesn`t necessarily receive the attention you might expect. In fact, sometimes the big and the bold just end up looking like the big, the bad and the ugly. For instance, in newspapers where advertisement are surrounded by small typeRead MoreMetz Film Language a Semiotics of the Cinema PDF100902 Words   |  316 Pagesallowed myself to excise or replace passages that, as a result of the lapse in time between their original publication and the printing of this volume, have become obsolete and no longer correspond to the present state of my investigations.** Thus, in the case of partial changes in my orientation, or simply of new developments, or even when recent contributions to the field by other authors had to be accounted for, I have preferred toupdate merely by adding notes (rather long ones when necessary) instead