Im writing a essay on the tempest by shakespere?
Baconian theory of Shakespeare authorship - Wikipedia
To a far greater degree than with most sonnet sequences, Shakespeare's have "the ring of truth." This is partly because, like all his works (from his earliest plays onward), they portray humanity so convincingly. But it is also a consequence of the extent to which they seem to go beyond, or even to disregard, convention. Thus, instead of praising a lady by cataloging all the attributes that make her lovely, Shakespeare turns Petrarchan tradition on its head by denying his "dark lady" any of the expected beauties and virtues. "My mistress' eyes are nothing like the sun," he says in Sonnet 130; and far from being ethereal and inaccessible in her idealized spirituality, the woman described in Shakespeare's is sensual, coarse, and promiscuous. Petrarch's Laura may have inspired that earlier poet to Platonic transcendence, but Shakespeare's mistress leaves only the bitter aftertaste of "Th' expense of spirit in a waste of shame," "A bliss in proof, and prov'd, a very woe" (Sonnet 129). And what is more, she alienates the affection of the fair young man to whom most of the first 127 sonnets in the sequence are addressed: the friend who occasions some of the deepest verses in English on such themes as fidelity, stewardship (Shakespeare seems to have been preoccupied with the Parable of the Talents, as rendered in Matthew 25: 14-30), and man's struggle against "never-resting time."
FREE Shakespeare Authorship Controversy Essay
But it is risky to inquire too curiously into the supposedly "confessional" aspects of the . Like Shakespeare's other writings, they employ the artifice of "fictions," and they may have been but another form of story telling--different in kind from the plays and narrative poems, to be sure, but similar to them in being "about" something quite other than (or in addition to) the poet's own experience. If we examine them in the context of earlier sonnet sequences--Petrarch's lyrics of Laura in fifteenth-century Italy, for instance, or such late-sixteenth-century English sequences as those by , , , and Michael Drayton--we discover that they are quite "conventional" in many respects. They display the speaker's wit and attest to his originality; they imply a deeply felt personal situation and hint at a coherent narrative, but they usually stop short of connecting their emotional peaks and valleys into a fully textured autobiographical landscape; they assert the immortality of verse and claim its sovereignty over the ravages of time and change; and usually they deal with themes of truth and beauty in the context of love and friendship and all the circumstances that life arrays in opposition to such values.