Sonnet 99
Sonnet 99 | |||||||
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Sonnet 99 is one of
Paraphrase
I criticized the
Structure
Sonnet 99 is one of only three irregular sonnets in Shakespeare's sequence (the others being Sonnet 126 which structurally is not a sonnet at all but rather a poem of six pentameter couplets, and Sonnet 145 which has the typical rhyme scheme but is written in iambic tetrameter). Whereas a typical English or Shakespearean sonnet has three quatrains, followed by a final rhyming couplet, with the rhyme scheme ABAB CDCD EFEF GG, this sonnet begins with a quintain yielding the rhyme scheme ABABA CDCD EFEF GG. Like the other sonnets (except Sonnet 145) it is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 8th line exemplifies a regular iambic pentameter:
× / × / × / × / × / The roses fearfully on thorns did stand, (99.8)
- / = ictus, a metrically strong syllabic position. × = nonictus.
The meter demands several variant pronunciations: line 1's "violet" is pronounced with three syllables, line 6's "condemnèd" also with three, line 11's "robbery" with two.[2] Line 14's "flowers" is pronounced as one syllable, and "stol'n" always appears as one syllable (in lines 7, 10, and 15).[3]
Line 13's "eate" equals modern past tense "ate".[4]
As to its fifteen lines, sonnet structure has never been absolutely fixed, and Sidney Lee adduces many examples of fifteen line sonnets. An extra line is particularly common in linked sonnets, and this sonnet is linked to 98; Malone ended 98 with a colon to demonstrate the connection. However, other scholars have remarked on the clumsiness of the first line and suggested that the quarto text represents an unrevised draft that found its way into print.[citation needed]
Source and analysis
Edward Massey and others asserted that the poem was directly inspired by a poem in Henry Constable's Diana (1592); T. W. Baldwin rejected this claim while noting that the same Constable sonnet had inspired a passage in The Rape of Lucrece. At any rate, the conceit is common, and parallels have been found in the poems by Edmund Spenser, Thomas Campion, and others. George Wilson praised the poem as an example of synesthesia.
The sonnet has attracted some attention as one of those that appears to provide clues about the historical identity of Shakespeare's subject (on the traditional assumption that the poems are in some sense autobiographical). In 1904, C. C. Stopes noted the existence of a portrait of Southampton at Welbeck Abbey in which his hair curls in a manner similar to young marjoram. This analysis has been disputed by scholars who assert that smell, rather than appearance, is the primary referent of Shakespeare's line. Because of the extravagant praise of the beloved's body, some Victorian scholars were reluctant to believe that the poem was addressed to a man; current consensus, however, groups it with the other poems written to the young man.
Notes
- OCLC 4770201.
- ^ Booth 2000, pp. 322–23.
- ^ Booth 2000, pp. 87.
- ^ Kerrigan 1995, p. 302.
References
- Baldwin, T. W. On the Literary Genetics of Shakespeare's Sonnets. Urbana: University of Illinois, 1950.
- Lee, Sidney. Elizabethan Sonnets. Westminster: Constable, 1904.
- Stopes, C. C. Shakespeare's Sonnets. London: Alexander Morig, 1904.
- Wilson, George. The Five Gateways of Knowledge. Cambridge: Macmillan, 1856.
- First edition and facsimile
- Shakespeare, William (1609). Shake-speares Sonnets: Never Before Imprinted. London: Thomas Thorpe.
- OCLC 458829162.
- Variorum editions
- OCLC 234756.
- Modern critical editions
- Atkins, Carl D., ed. (2007). Shakespeare's Sonnets: With Three Hundred Years of Commentary. Madison: OCLC 86090499.
- OCLC 2968040.
- Burrow, Colin, ed. (2002). The Complete Sonnets and Poems. OCLC 48532938.
- OCLC 32272082.
- OCLC 15018446.
- Mowat, Barbara A.; Werstine, Paul, eds. (2006). Shakespeare's Sonnets & Poems. OCLC 64594469.
- OCLC 46683809.
- OCLC 36806589.