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Journal articles on the topic 'Shakespeare Sonnets'

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Published: 4 June 2021

Last updated: 12 February 2022

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1

Martz, Louis L. "Sidney and Shakespeare at Sonnets." Moreana 35 (Number 135-, no. 3-4 (December 1998): 151–70. http://dx.doi.org/10.3366/more.1998.35.3-4.10.

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The contrast between the sonnet cycles of Sidney and Shakespeare may be seen as analogous to the movement from High Renaissance to Mannerist styles of painting in the late sixteenth century. Harmony and symmetry, both thematic and stylistic, characterize Sidney’s “Astrophil and Stella.” Shakespeare’s sonnets, as a whole and in each unit, reveal a darker mood and a Jess settled poetics: ideal forms have been corroded and dissolved.

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2

Jackson, MacD P., Katherine Duncan-Jones, and Rex Gibson. "The Arden Shakespeare Shakespeare's Sonnets." Shakespeare Quarterly 50, no. 3 (1999): 368. http://dx.doi.org/10.2307/2902364.

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3

Hochschild, Jennifer L. "Introduction and Comments." Perspectives on Politics 1, no. 4 (December 2003): 661–62. http://dx.doi.org/10.1017/s1537592703000446.

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“I think good thoughts, whilst others write good words” (Shakespeare, Sonnet 85). Such is the life of a journal editor, as well as that of a love-sick poetical genius. I can at least hope that the good words written by others and published in this issue of Perspectives on Politics will last—if not quite as long as Shakespeare's sonnets, then well into the future.

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4

Foster, Donald W. "A Funeral Elegy: W[illiam] S[hakespeare]'s “Best-Speaking Witnesses”." PMLA/Publications of the Modern Language Association of America 111, no. 5 (October 1996): 1080–105. http://dx.doi.org/10.2307/463152.

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A Funeral Elegy was written in February 1612 by “W. S.,” a poet of “name and credit” closely familiar with Shakespearean texts. The pamphlet was registered by a stationer, Thomas Thorp, whose livelihood depended chiefly on the Shakespeare-Jonson theatrical circle and who had published Shakespeare's Sonnets in 1609. Privately issued and surviving in just two copies, A Funeral Elegy received scant notice until 1989, when I first presented archival, statistical, and literary evidence that WS could be William Shakespeare. Focusing on intertextual evidence derived in part from new electronic resources, this essay addresses a vexing conundrum: the elegy is aesthetically disappointing and yet distinctively Shakespearean—a paradox that raises larger questions about attributional methodology and canonical theory. An emerging scholarly consensus supports a Shakespearean attribution for the elegy, though the poem challenges prevailing notions of what it is that makes Shakespeare “Shakespeare.”

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5

Comcar, Milad, and Sina Movaghati. "A Comparative study of Shakespeare and Hafiz’s sonnets, based on the Horace’s motif of Carpe Diem." Journal of English Language and Literature 4, no. 2 (October 30, 2015): 381–85. http://dx.doi.org/10.17722/jell.v4i2.107.

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Carpe Diem which means “enjoy, seize, use, and make use of” is a term taken from ode I. XI of Horace and has become a very common motif in literature ever since. Many poets throughout history have used this motif. But what are the main tenets of the motif in Horace’s odes? This article tries to show the main tenets of Carpe Diem according to Horace. These tenets are: tomorrow, living in the present and drinking wine; we try to apply the discussed elements on two sonnets of the greatest sonneteers of all times in two different countries. That of England’s William Shakespeare’s sonnet 73 and that of Persia’s Hafiz’s sonnet 473; we strive to see to what extent time has affected the concept of Carpe Diem in the poems; and to what extent the sonnets of Shakespeare and Hafiz followed the pattern of Horace’s Carpe Diem.

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6

Ma, Chunli. "The Physical Beauty in Shakespeare’s Sonnets." English Language and Literature Studies 6, no. 2 (April 28, 2016): 110. http://dx.doi.org/10.5539/ells.v6n2p110.

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<p>Beauty, one of the most reoccurring words throughout Shakespeare’s Sonnets, is the principal subject of the poet’s meditation. “From fairest creatures we desire increase, / That thereby beauty’s rose might never die” begins the first poem in the sonnet sequence, a statement about beauty that can be understood as the first articulation of the Sonnets’ aesthetic agenda. Beauty in Shakespeare’s Sonnets is represented in two dimensions: the physical beauty and the spiritual beauty. The physical beauty refers to the beauty of the body and the sensual pleasure derived from desires.By means of the illustration of the physical beauty, Shakespeare conveyed the aesthetical world which brings readers enjoyment and delight, moreover, the poet warns readers that the sensual pleasure should base on married chastity and social norms, otherwise, it would result in death and destruction. The account of sexual pleasure shows that on the one hand for enjoying the life itself, on the other hand, for leaving children behind to make the temporary time eternalized, thus returning back to timeless Garden of Eden. This returning course is the process of preserving beauty.This article only focuses on interpreting the physical beauty in the Sonnets, the part of the beauty in spiritual dimension will be presented in another one.</p>

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7

Good, Emily, Miriam Gideon, and Stephen Dembski. "Sonnets from Shakespeare." American Music 5, no. 4 (1987): 471. http://dx.doi.org/10.2307/3051466.

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8

Shaytanov, I. O. "Metaphysics of the biography. How many parts to Shakespeare’s Sonnets?" Voprosy literatury, no. 6 (December 28, 2020): 144–77. http://dx.doi.org/10.31425/0042-8795-2020-6-144-177.

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The two-part structure for the sequence of Shakespeare’s Sonnets was suggested by its first editor Edmund Malone at the end of the 18th c. and proved to be a long-standing tradition. Recently not a few attempts have been made to clarify the logic practiced by the Renaissance sonneteers in whose context Shakespeare’s lyrical narration is problematized. This article joins to ascertain the boundaries of inner cycles within the sequence in order to follow the denouement of its plot. The author argues that the Renaissance sequence, much unlike the narrative logic in the novel, does not present a consistent love story but rather the sessions of sweet silent thought (sonnet 30), reflective in the sonnet and growing more and more metaphysical in Shakespeare, both in diction and metaphor. Certain biographical allusions in the sequence (some of them advanced by the author) support that it was written between 1592 and 1603–1604 to the Earl of Southampton as its addressee.

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9

Edmondson, Paul, and Stanley Wells. "Interrogating the Sonnets." Actes des congrès de la Société française Shakespeare, no. 24 (November 1, 2007): 39–51. http://dx.doi.org/10.4000/shakespeare.1021.

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10

Darras, Jacques, and Lachlan Mackinnon. "Autour des Sonnets." Actes des congrès de la Société française Shakespeare, no. 31 (May 1, 2014): 193–211. http://dx.doi.org/10.4000/shakespeare.2855.

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11

Fielitz, Sonja, Ralf Hertel, and Aleksandra Budrewicz-Beratan. "Book Reviews." Multicultural Shakespeare: Translation, Appropriation and Performance 8, no. 23 (November 30, 2011): 125–32. http://dx.doi.org/10.2478/v10224-011-0009-2.

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Wolfgang Weiss, Shakespeare in Bayern und auf Bairisch (Shakespeare in Bavaria and in Bavarian Regional Dialects), Passau: Verlag Karl Stutz, 2008, 1st ed. Pp. 201. ISBN: 978-3-88849-090-3. Manfred Pfister and Jürgen Gutsch (eds.), William Shakespeare’s Sonnets for the First Time Globally Reprinted: A Quatercentenary Anthology (with a DVD), Dozwil: Edition Signathur, 2009. Pp. 752. ISBN 978-3-908141-54-9. Re-playing Shakespeare in Asia, ed. Poonam Trivedi, Minami Ryuta, New York: Routledge 2010, 1st ed. Pp. 201. ISBN: 978-3-88849-090-3.

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12

Brennan, M. G. "Review: Shakespeare. The Complete Sonnets and Poems: Shakespeare. The Complete Sonnets and Poems." Cambridge Quarterly 32, no. 3 (September 1, 2003): 292–95. http://dx.doi.org/10.1093/camqtly/32.3.292.

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13

Weisberg, Richard H. "Triangulation as a Problem in the Plays and Sonnets." European Judaism 51, no. 2 (September 1, 2018): 59–66. http://dx.doi.org/10.3167/ej.2017.510210.

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As to the risks of what I call the ‘triangulation’ of both public power and private emotion, I extend my earlier treatment of ‘mediation’ in The Merchant of Venice to Measure for Measure, King Lear, Hamlet, and The Tempest, linking to them Shakespeare’s Sonnet 134. For Shakespeare, whether poet or playwright, a private triangulation of direct romantic obligation is as nettlesome as the public official’s similar behaviour – as when the Duke ‘outsources’ Viennese power to Angelo – and the results are quite as disastrous. The complex and highly legalistic sonnet concerns the triangulation of passion from the speaker to a friend. The beloved winds up ensnaring both through ‘the statute of [her] beauty’. The word ‘surety’ – used centrally in the poem and twice in Merchant – pinpoints, through the delegation to a third party of obligations otherwise charged directly to two committed parties, the underlying Shakespearean problematic.

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14

Weisberg, Richard H. "Triangulation as a Problem in the Plays and Sonnets." European Judaism 51, no. 2 (September 1, 2018): 59–66. http://dx.doi.org/10.3167/ej.2018.510210.

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Abstract As to the risks of what I call the ‘triangulation’ of both public power and private emotion, I extend my earlier treatment of ‘mediation’ in The Merchant of Venice to Measure for Measure, King Lear, Hamlet, and The Tempest, linking to them Shakespeare’s Sonnet 134. For Shakespeare, whether poet or playwright, a private triangulation of direct romantic obligation is as nettlesome as the public official’s similar behaviour – as when the Duke ‘outsources’ Viennese power to Angelo – and the results are quite as disastrous. The complex and highly legalistic sonnet concerns the triangulation of passion from the speaker to a friend. The beloved winds up ensnaring both through ‘the statute of [her] beauty’. The word ‘surety’ – used centrally in the poem and twice in Merchant – pinpoints, through the delegation to a third party of obligations otherwise charged directly to two committed parties, the underlying Shakespearean problematic

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15

Kowalik, Barbara. ""Eros" and Pilgrimage in Chaucer’s and Shakespeare’s Poetry." Text Matters, no. 3 (November 1, 2013): 27–41. http://dx.doi.org/10.2478/texmat-2013-0024.

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The paper discusses erotic desire and the motif of going on pilgrimage in the opening of Geoffrey Chaucer’s General Prologue to The Canterbury Tales and in William Shakespeare’s sonnets. What connects most of the texts chosen for consideration in the paper is their diptych-like composition, corresponding to the dual theme of eros and pilgrimage. At the outset, I read the first eighteen lines of Chaucer’s Prologue and demonstrate how the passage attempts to balance and reconcile the eroticism underlying the description of nature at springtime with Christian devotion and the spirit of compunction. I support the view that the passage is the first wing of a diptych-like construction opening the General Prologue. The second part of the paper focuses on the motif of pilgrimage, particularly erotic pilgrimage, in Shakespeare’s sonnets. I observe that most of the sonnets that exploit the conceit of travel to the beloved form lyrical diptychs. Shakespeare reverses the medieval hierarchy of pilgrimage and desire espoused by Chaucer. Both poets explore and use to their own ends the tensions inherent in the juxtaposition of sacred and profane love. Their compositions encode deeper emotional patterns of desire: Chaucer’s narrator channels sexual drives into the route of communal national penance, whereas the Shakespearean persona employs religious sentiments in the service of private erotic infatuations.

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16

Cordeiro, Renata Maria Parreira, and William Shakespeare. "William Shakespeare, Sonnet I." Cadernos de Literatura em Tradução, no. 1 (October 1, 1997): 18–19. http://dx.doi.org/10.11606/issn.2359-5388.i1p18-19.

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17

Dubrow, Heather, G. Blakemore Evans, and Anthony Hecht. "The New Cambridge Shakespeare Sonnets." Shakespeare Quarterly 48, no. 3 (1997): 336. http://dx.doi.org/10.2307/2871021.

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18

Bonnefoy, Yves. "Traduire les Sonnets de Shakespeare." L'Esprit Créateur 34, no. 3 (1994): 14–21. http://dx.doi.org/10.1353/esp.1994.0059.

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19

Nardizzi, Vin. "Shakespeare's Penknife: Grafting and Seedless Generation in the Procreation Sonnets." Renaissance and Reformation 32, no. 1 (January 1, 2009): 83–106. http://dx.doi.org/10.33137/rr.v32i1.9591.

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Cet essai remet dans son contexte la figure de la greffe qu'utilise Shakespeare dans ses «sonnets de procréation» (numéro 1-17) par l'examen de la présentation de cette technique horticole dans la littérature de jardinage des seizième et dix-septièmes siècles. On y argue que le personnage du sonnet 15 se réfère à cette littérature, se terminant sur le vers «I engraft you new», visualisant la greffe horticole autant comme une technique d'écriture que comme une forme analogue à la procréation humaine. En tant qu'écriture, la greffe permet à l'orateur de se hisser au niveau des héritiers et de la poésie, puisque le canif est indispensable autant au poète qu'au jardinier, respectivement pour préparer une plume et une greffe. Toutefois, en tant qu'analogue de la procréation humaine, la greffe ne procède pas par semis ou par mélange des semences. Au lieu de cela, elle constitue une forme de génération ne nécessitant pas de semences, et de ce fait évoque le potentiel de la greffe comme reproduction travestie dans les Sonnets de Shakespeare.

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20

Bonnefoy, Yves. "La traduction des sonnets de Shakespeare." Actes des congrès de la Société française Shakespeare, no. 18 (November 1, 2000): 47–62. http://dx.doi.org/10.4000/shakespeare.540.

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21

Михальчук, Наталія, and Ольга Кришевич. "The Peculiarities of the Perception and Understanding of Sonnets Written by W. Shakespeare by the Students of the Faculty of Foreign Languages." PSYCHOLINGUISTICS 26, no. 1 (November 12, 2019): 265–85. http://dx.doi.org/10.31470/2309-1797-2019-26-1-265-285.

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The purpose of the article is to analyze the peculiarities of the perception and understanding of Sonnets written by W. Shakespeare by the students of the Faculty of Foreign Languages. The methods of the research are: in order to study the features of perception and understanding of the absurd in the sonnets of W. Shakespeare we used the method of associative experiment. In our research we examined the dependence of the latent period of awareness of the absurd meaning of speech acts, depending on the nature of stimulation. For comparing we proposed to students high-frequency phrases, emotionally colored ones (chosen from the sonnets of W. Shakespeare), low-frequency statements, stylistically colored phrases, statements which include slang. The results of the research. At the end of the procedure of the experiment, a total of 1958 verbal responses of the students were received. From them, 897 reactions are for high frequency phrases; 458 – for emotionally colored ones; 293 are for low frequency phrases; 256 – for stylistically colored ones and only 54 reactions are for slang. At the stage of the analysis of the results we arranged the groups of words depending on statistical differences in the average time of the associative reaction for each group in order from the smallest one to the largest group: 1) high-frequency and emotionally colored; 2) stylistically colored: 3) low-frequency; 4) phrases with slang. Conclusions. It was proved that students adequately perceived and understood the emotionally colored phrases that were selected by us from W. Shakespeare’s sonnets and contained explicit and implicit absurd meaning. This gives us reason to argue that these statements, with their expressive context and absurd content, in a great degree attracted students that they perceived these phrases as personally significant, experienced them in such a way that they already entered their sphere of personally significant experience.

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22

Volceanov, George. "The New Romanian Shakespeare Series on the Move: From Page to Stage and Screen." Messages, Sages and Ages 3, no. 1 (August 1, 2016): 38–45. http://dx.doi.org/10.1515/msas-2016-0004.

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Abstract This article aims at presenting the impact that the New Romanian Shakespeare edition launched in 2010 by George Volceanov has had on the literati and theatres so far. It is, therefore, a stocktaking exercise and its main goal is to provide Shakespeare scholars with an initial data base for further investigation of theatrical productions which use the new translation as significant moments in the history of Shakespeare’s reception in Romania and, on the other hand, to occasion some reflective remarks on the six years of the series now at its tenth volume and 26 plays plus the Sonnets.

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23

Aquilina, Mario. "The Event of Style in Shakespeare's Sonnets." Oxford Literary Review 37, no. 1 (July 2015): 119–39. http://dx.doi.org/10.3366/olr.2015.0153.

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This essay brings to bear Jacques Derrida's thinking of the ‘event’ and the ‘signature’, specifically in his reading of Francis Ponge's poetry, on the work of style in selected sonnets by Shakespeare. It argues that rather than functioning exclusively as a trace of identification and ownership, the event of style depends on the countersignature of the readers to come in ways that disrupt the teleocratic thinking at the heart of attribution studies in the authorship question. Style has a key role in the authorship controversy. It serves as internal evidence that allows critics to make claims about the authorship of Shakespeare's oeuvre. However, style in the sonnets, while signing for the author, also defaces and dispossesses him in ways that are partly rooted in the epideictic tradition from which the sonnets stem and partly intrinsic to the logic or structure of style as an event.

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24

Bonnefoy, Yves. "Quelques propositions quant aux Sonnets de Shakespeare." Actes des congrès de la Société française Shakespeare, no. 24 (November 1, 2007): 13–38. http://dx.doi.org/10.4000/shakespeare.1020.

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25

Meier, Hans H. "Shakespeare restored: Sonnets 51.11 and 146.2." English Studies 72, no. 4 (August 1991): 350–54. http://dx.doi.org/10.1080/00138389108598760.

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26

Walls, Kathryn. "The Christian Lark: Spenser’s Faerie Queene I. x.51 and Shakespeare’s Sonnet 29." Explorations in Renaissance Culture 46, no. 2 (December 18, 2020): 200–218. http://dx.doi.org/10.1163/23526963-46020005.

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Abstract The likening of the lark to the Christian worshipper as in Herbert’s “Easter Wings” was anticipated by both Spenser and Shakespeare in references that have been overlooked to date. These stand in a tradition most richly represented by the early fourteenth- century French allegorist Guillaume de Deguileville, in his Pèlerinage de l’Ame, in which the pilgrim soul, guided towards the gate of Heaven by his guardian angel, finds himself surrounded by larks whose cruciform shapes in flying match their singing of the name “Jhesu.” Having fallen for the second time when fighting the dragon, Spenser’s Red Cross Knight rises on the third morning to find himself victorious. In his rising he is compared with the lark at dawn. The Edenic setting (which underlines the theme of the redemption of “fallen” man by the risen Christ) is also illuminated by Deguileville’s Ame; Spenser’s two trees are reminiscent of the “green and the dry” in the French allegory, according to which Christ appears as the apple pinned to the dry tree in reparation for the apple stolen by Adam. When one examines Shakespeare’s reference to the lark in Sonnet 29 in the light of the tradition represented by Deguileville (whose work not only Spenser but also Shakespeare might have read in English translation) the question arises as to whether the beloved addressed in line 10 (“thee”) could be Christ, and the speaker a Christian worshipper moving from self reproach to Christian gratitude. Such an interpretation is challenged by the standard assumption that the sonnets reflect a narrative produced by a love triangle. But from Petrarch’s Canzoniere on, sequences of love sonnets had contained poems of religious adoration.

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27

Pfister, Manfred. "‘Love Merchandized’." Critical Survey 30, no. 3 (September 1, 2018): 57–66. http://dx.doi.org/10.3167/cs.2018.300305.

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Although analysing Shakespeare’s sonnets in the context of ‘Shakespeare and money’ is not an obvious choice, I believe that Karl Marx’s ‘The Power of Money’ in his Economic and Philosophic Manuscripts are as relevant to the sonnets as they are to plays such as Timon of Athens. My reading of them will foreground their dialogue with terms and developments in early modern banking and focus on metaphors of economic transaction that run through the whole cycle; indeed, a third of them figure love, its wealth and truth, use and abuse, in terms of investment in order to project an alternative economy beyond the self-alienating world of banking/financial gain. This imbrication of the erotic with the economic comprises also the writing of love sonnets, a competitive game-like economic transaction. Soneteering is a way of ‘merchandizing love’ that inevitably casts a capitalist shadow across the supposedly most sincere expression of love.

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28

Matsuda, Yoshiko, Lan Zhou, and Yasumasa Okamoto. "Book Reviews." Multicultural Shakespeare: Translation, Appropriation and Performance 21, no. 36 (June 30, 2020): 173–85. http://dx.doi.org/10.18778/2083-8530.21.11.

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Emi Hamana, Shakespeare Performances in Japan: Intercultural-Multi-cultural-Translingual. Yokohama: Shumpusha, 2019. Pp. 188. Li Jun, Popular Shakespeare in China: 1993-2008. Beijing: University of International Business and Economics Press, 2016. Pp. 199. Soji Iwasaki’s Japanese Translation of Shakespeare, The Sonnets and A Lover’s Complaint. Revised edition. Tokyo: Kokubunsha, 2019. Pp. 242.

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29

Matsuda, Yoshiko, Lan Zhou, and Yasumasa Okamoto. "Book Reviews." Multicultural Shakespeare: Translation, Appropriation and Performance 21, no. 36 (June 30, 2020): 173–85. http://dx.doi.org/10.18778/2083-8530.21.11.

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Emi Hamana, Shakespeare Performances in Japan: Intercultural-Multi-cultural-Translingual. Yokohama: Shumpusha, 2019. Pp. 188. Li Jun, Popular Shakespeare in China: 1993-2008. Beijing: University of International Business and Economics Press, 2016. Pp. 199. Soji Iwasaki’s Japanese Translation of Shakespeare, The Sonnets and A Lover’s Complaint. Revised edition. Tokyo: Kokubunsha, 2019. Pp. 242.

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30

Bardelmann, Claire. "Les Sonnets en musique : questions et perspectives." Actes des congrès de la Société française Shakespeare, no. 24 (November 1, 2007): 229–45. http://dx.doi.org/10.4000/shakespeare.1059.

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31

Henderson, Diana E. "Where Had All the Flowers Gone? The Missing Space of Female Sonneteers in Seventeenth-Century England." Renaissance and Reformation 35, no. 1 (November 19, 2012): 139–65. http://dx.doi.org/10.33137/rr.v35i1.19078.

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Les petits lieux de la poésie lyrique — et en particulier le sonnet — offraient un espace dans lequel les femmes du XVIIe siècle se sont retrouvées. Mais ensuite, qu’est-il advenu en Angleterre de l’immense potentiel du sonnet féminin, en particulier après le premier quart du XVIe siècle ? Les chercheurs ont mis l’emphase sur les changements formels et de genre (essor de l’épigramme, l’hégémonie du couplet), et ont affirmé que le sonnet a décliné pour des raisons culturelles et artistiques (guerre civile, ombres de Shakespeare et de Milton). Toutefois, la poésie des XVIIe et XVIIIe siècles présente un défi aux récits de l’histoire de la littérature et à la présomption que les femmes ont perçu le pétrarquisme comme un territoire masculin. Au contraire, cette époque est celle où les femmes ont adapté les forms et les résonances du sonnet aux nouvelles réalités sociopolitiques, et avancé des revendications autoriales par la même occasion. Plusieurs de ces sonnets ont été mis de côté en raison de leur caractère paratextuel, ou viennent à peine d’être découverts grâce à des études de manuscrits récentes. Ces sonnets mettent en lumière néanmoins la conscience artistique de ces auteurs féminines, et comment le récit d’histoire peut obscurcir la poésie que l’on considère. Il est donc temps de revoir nos présomptions au sujet du sonnet anglais et de remettre en question les constructions du romantisme et de la dominance shakespearienne, afin de redécouvrir l’héritage du sonnet du XVIIe siècle.

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32

Al-Abdullah, Mufeed. "Mental Time Travel in Shakespeare’s Sonnets: Aesthetic Art in Neuropsychological Perspectives." English Language and Literature Studies 10, no. 1 (February 26, 2020): 67. http://dx.doi.org/10.5539/ells.v10n1p67.

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This study means to analyze Shakespeare’s use of mental time travel (MTT) in his collection of sonnets, especially those addressed to his young friend. It also hopes to amplify that Shakespeare’s versification of MTT anticipates modern neuropsychological studies on the topic. The article tackles MTT in light of four different premises induced from the sonnets subject to analysis: first, MTT occurs in the sonnets in correlation with objective time; second, the dual constructive and destructive nature of time triggers the need for the memory-based MTT; third, the disparaging effect of time on the poet and the friend’s mother is meant to stimulate the young friend to heed the future of his extraordinary beauty under the strokes of ruthless time; and, fourth, the destructive force of time on non-human beings and natural phenomena provides another stimulus to urge the young friend to heed the dangers of time on his future.

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33

Rodríguez Herrera, José Manuel. "Shakespeare’s Legal Wit: Evolution of the Translation of Shakespeare’s Legal Puns into Spanish from the 20th to the 21st Century." Revista Alicantina de Estudios Ingleses, no. 28 (November 15, 2015): 165. http://dx.doi.org/10.14198/raei.2015.28.09.

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Shakespeare was law-obsessed and used a considerable amount of law terminology in his plays and sonnets. Though the use of legal terminology was frequent and extended in Elizabethan drama, Shakespeare’s handling of such technical language was particularly accurate and imaginative. It being a highly litigious age, Tudor audiences were well acquainted with a wide assortment of legal terms and concepts, and therefore in a position to enjoy the clownish characters’ (Launcelot, Gobbo, Pompey, etc.) malapropisms and legal puns. However, what applies to the Tudor audience of those days does not necessarily apply to audiences from other cultures and across different ages of Shakespearean reception. In this study, we look at the question of whether the reception of Shakespeare in the Spanish-speaking world coincides with the established image of the Poet as a playwright and poet who knew how to handle the many subtleties of the legal terminology with ease and grace. Much of this image has been diluted as a consequence of ‘loose’ renderings in Spanish translations. With reference to legal imagery, malapropisms, or legal ‘puns’ in particular, many a translation fails to adequately render the corresponding legal overtones in the target text. After a brief overview of Shakespearean translations into Spanish over the centuries, this study focuses on the evolution of the translation of Shakespeare’s legal puns into Spanish through the works of three translators starting with Leandro Fernandez de Moratín’s early 20th century renderings, Manuel Ángel Conejero’s version in 1995, and finally Ángel Luis Pujante’s recent edition of Shakespeare’s comedies and tragicomedies. The paper concludes by problematizing such strategies in the context of “law-worthy” translations as opposed to “stage-worthy” ones.

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34

Sakaeva, Liliya R., and Liya A. Kornilova. "Structural Analysis of the Oxymoron in the Sonnets of William Shakespeare." Journal of History Culture and Art Research 6, no. 5 (November 28, 2017): 409. http://dx.doi.org/10.7596/taksad.v6i5.1246.

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<p>This paper considers the structural groups of oxymoron in the Russian and English languages. It is also relevant to study oppositional lexical units represented in heterogeneous system languages from the standpoint of linguistic and extra linguistic meanings, since the figures of contrast are inconceivable without the associative-emotional and evaluative qualifications of the objects of opposition. They give the analysis of the oxymoron’s nature and its functions in two different-structured languages. The article has carried out lexical and semantic characteristics of oxymoron. In the linguistic literature there is no generalized, concrete and universal structural and semantic classification of this stylistic device. This study attempts to create a structural and semantic classification, combining all the existing varieties of this figure of contrast. The analysis is applied in the linguistic examination of the Sonnets written by William Shakespeare. When studying, systemizing and analyzing the opposite units, it is extremely important to study their structural features. The main objective of this study is to identify and describe the types of oxymoron in the language of Shakespeare’s sonnets. </p>

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35

Edwards, Michael. "Yves Bonnefoy et les Sonnets de Shakespeare." Littérature 150, no. 2 (2008): 25. http://dx.doi.org/10.3917/litt.150.0025.

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Ellrodt, Robert. "Shakespeare’s Progress from the Narrative Poems to the Sonnets." Actes des congrès de la Société française Shakespeare, no. 24 (November 1, 2007): 97–117. http://dx.doi.org/10.4000/shakespeare.1041.

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Kingsley-Smith, Jane. "Shakespeare's sonnets and the claustrophobic reader: making space in modern Shakespeare fiction." Shakespeare 9, no. 2 (June 2013): 187–203. http://dx.doi.org/10.1080/17450918.2013.784796.

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Walach, Harald. "Another Cryptogram in "Shakespeare's" Dedication to His Sonnets." Journal of Scientific Exploration 35, no. 1 (March 8, 2021): 129–31. http://dx.doi.org/10.31275/20212019.

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I read with great interest the paper by Peter Sturrock and Kathleen Erickson (Sturrock & Erickson, 2020) on the Dedication in Shakespeare’s Sonnets. I am neither a scholar of literature, nor of Shakespeare, and I do not want to enter the fray as to who was the author of Shakespeare’s sonnets and plays. But I must confess that I found the arguments presented by Sturrock and Erickson intriguing. It is in that vein I would like to communicate an interesting finding. On page 302, Figure 21, of their paper, they present the Dedication of the Sonnets as a grid of 12 x 12 letters. This was done under the assumption that cryptograms can be deciphered better if they are laid out in a certain format. They then present the message they assume is contained there: “PRO PARE VOTIS EMERITER” as a devotion of Edward de Vere, the Earl of Oxford to his supposed friend, the Earl of Southampton, Henry Wriothesley. I find this a possible meaning. My experience with Latin texts – based on a translation of a medieval mystical writer from Latin into German and the reading of many original Latin texts, mainly from the middle ages and beyond (Hugo de Balma, 2017; Walach, 1994, 2010) – let another sequence jump out at me: SI PATET PRO MIRE VERO RETIRO The translation would read: "If it becomes miraculously obvious [who I am], I retire." That this is a reference of the proposed author, Edward de Vere, to himself would become clear from the double use of “vero”.

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Al-Abdullah, Mufeed. "Conceptual Metaphors of Time in the Sonnets of Shakespeare: A Cognitive Linguistic Approach." English Language and Literature Studies 10, no. 2 (April 6, 2020): 1. http://dx.doi.org/10.5539/ells.v10n2p1.

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The article studies the conceptual metaphors of time in the sonnets of Shakespeare in light of the Conceptual Metaphor Theory (CMT) of Lakoff and Johnson (1980) presented in their book, Metaphors We Live By, and Kovecses’ (2002) informative views in his book, Metaphor: A Practical Introduction. The extracted metaphors selected from a variety of sonnets that tackle the theme of time will be divided into three sub-categories: structural, ontological, and orientational. Under ontological metaphors, the study addresses metaphors in the forms of personification, metonymy, and synecdoche. Using the cognitive approach to understand the abstract concept of time in terms of a variety of concrete concepts with experiential dimension enables the reader to perceive this concept from different perspectives. The study hopes to show that the cluster of source domains Shakespeare provides in the metaphors maps an association of multidimensional possibilities that improve our understanding of time. Also, this consortium of possibilities points to the creativity and the wide scope of Shakespeare’s vision. The study hopes to add another vantage point from which to view Shakespeare’s presentation of time in light of modern progress in the studies of conceptual metaphors and cognitive poetics.

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Leonard, Nancy S., and Sandra L. Bermann. "The Sonnet over Time: A Study in the Sonnets of Petrarch, Shakespeare, and Baudelaire." Comparative Literature 43, no. 4 (1991): 389. http://dx.doi.org/10.2307/1770383.

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Thomson, Patricia, Sandra L. Bermann, and Thomas P. Roche. "The Sonnet over Time: A Study in the Sonnets of Petrarch, Shakespeare, and Baudelaire." Yearbook of English Studies 21 (1991): 342. http://dx.doi.org/10.2307/3508523.

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Forti-Lewis, Angelica, and Sandra L. Bermann. "The Sonnet over Time: A Study in the Sonnets of Petrarch, Shakespeare, and Baudelaire." Italica 68, no. 2 (1991): 220. http://dx.doi.org/10.2307/479856.

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Riesco, Pedro. "Metre of an antique song. Ecos clásicos en los Sonnets shakesperianos." Archivum, no. 69 (February 11, 2020): 277–312. http://dx.doi.org/10.17811/arc.0.2019.277-312.

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De entre la producción poética de William Shakespeare, toda ella empapada de regustos clásicos, los Sonetos representan la única obra en la que el poeta ‒o su trasunto‒ refleja de forma personal su propio yo y su sentimiento. En los Sonnets, al adoptar la forma lírica prestigiada, nuestro autor conecta de manera directa con la tradición que le precede, como él mismo reconoce, y disfraza las palabras antiguas con nuevos ropajes. El presente trabajo realiza una revisión de las aportaciones de los investigadores a la compleja cuestión acerca del alcance del saber clásico de William Shakespeare. Sobre esta base teórica, dirige su atención a los Sonetos para analizar la pervivencia de los motivos líricos grecolatinos relativos a tres áreas temáticas: el amor, el paso del Tiempo y la consecución de la inmortalidad mediante la poesía. En ellas se puede descubrir la recepción de Catulo, Horacio y, sobre todo, Ovidio, el poeta favorito de Shakespeare.

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Daigle, Lennet J., and Anne Ferry. "The "Inward" Language: Sonnets of Wyatt, Sidney, Shakespeare, Donne." South Atlantic Review 50, no. 1 (January 1985): 103. http://dx.doi.org/10.2307/3199539.

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Peterson, D. L. "The "Inward" Language: Sonnets of Wyatt, Sidney, Shakespeare, Donne." Modern Language Quarterly 46, no. 1 (January 1, 1985): 89–92. http://dx.doi.org/10.1215/00267929-46-1-89.

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Selvi, T. Senthil, and R. Parimala. "K-Means Clustering of Shakespeare Sonnets with Selected Features." International Journal of Database Theory and Application 9, no. 8 (August 31, 2016): 89–98. http://dx.doi.org/10.14257/ijdta.2016.9.8.10.

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Wheeler, Richard P. "Shakespeare's Perjured Eye: The Invention of Poetic Subjectivity in the Sonnets. Joel Fineman , Shakespeare." Modern Philology 86, no. 1 (August 1988): 87–90. http://dx.doi.org/10.1086/391677.

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Pradid, Yu F. "The neologism zoretsvit: history and modernity." Movoznavstvo 316, no. 1 (February 10, 2021): 36–45. http://dx.doi.org/10.33190/0027-2833-316-2021-1-003.

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The proposed article is dedicated to the study of the neologism zoretsvit, which, in our opinion, appeared in the second half of the 1930s. It may have been first used by Oswald- Eckhart Friedrichovych Burghardt (literary pseudonym Yuri Klen), a Ukrainian poet, translator and literary critic who fell victim to political repressions during World War II. Thirty years later, in 1965, Danylo Bakumenko’s poetry collection Zoretsvit appeared. In 1980, the Kyiv sound-recording firm Melodiya made the disk My Live Well that included a song with lyrics by Mikhail Tkach, Storks Flying in Zoretsvit. Somewhat later, in 1986, the Dnipro publishing house published the collected works by William Shakespeare in six volumes, with the sixth volume including Shakespeare’s sonnets translated by Dmytro Pavlychko. The neologism zoretsvit is used in Sonnet 21. It was not until the end of the 20th century that the neologism zoretsvit began to be increasingly used in the Ukrainian language, especially in various names. It became really widespread in the 2020s in all Ukraine’s regions. Finally, it should be noted that the word zoretsvit can be found neither in the Dictionary of the Ukrainian Language in 11 volumes, nor in the Dictionary of the Ukrainian Language in 20 volumes. It first appeared only in the latest online Free Explanatory Dictionary.

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Dale, Stephen F. "The Poetry and Autobiography of the Bâbur-nâma." Journal of Asian Studies 55, no. 3 (August 1996): 635–64. http://dx.doi.org/10.2307/2646449.

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Literary biography is a difficult art to practice when the subject is a premodern Muslim poet. Even in the work of such explicitly autobiographical western writers as the twentieth-century Russian poet Anna Akhmatova the relationship between art and life can be tantalizingly ambiguous. In the case of most well-known classical Muslim poets, though, the connection between life and literature is usually indeterminable. To personalize the lyrics of the great fourteenth-century Persian poet Hafiz is as problematic as trying to glean autobiographical details from Shakespeare's sonnets. The reasons are essentially the same. Little is known of these poets' lives, and their poems exemplify lyric and panegyric genres that were not intended to be autobiographical or idiosyncratic. Neither Hafiz nor Shakespeare were Romantics, and they did not write introspective or self-revealing poems.

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Sturrock, Peter, and Kathleen E. Erickson. "Behind the Mask – An Inquiry into the Shakespeare Authorship Question." Journal of Scientific Exploration 34, no. 2 (June 7, 2020): 268–350. http://dx.doi.org/10.31275/20201671.

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There is at present no consensus concerning the true authorship of the monumental literature that we ascribe to “Shakespeare”. Orthodox scholarship attributes this corpus to a man who was born and who died in Stratford-Upon-Avon, who spelled his name William Shakspere (or variants thereof, almost all with a short “a”), who could not write his own name consistently, and who may have been illiterate – as were his parents and as were, essentially, his children. For these and other reasons, many alternative candidates have been proposed. At this date, the leading such candidate is Edward de Vere, 17th Earl of Oxford. We approach the Authorship issue from a scientific perspective. We frame the key question as that of Secrecy or No Secrecy. According to orthodox scholarship, the Authorship Issue does not involve considerations of secrecy. According to independent scholarship, considerations of secrecy are fundamental to the Authorship Issue. We follow the initiatives of Jonathan Bond, John Rollett, and David Roper, who all brought their considerable mathematical expertise to the challenge of identifying and deciphering cryptograms embodied in the Dedication of the Sonnets and in the Inscription on the “Shakespeare” Monument. We show that the combined statistical significance of the cryptograms is overwhelming: The probability that the evidence contained in the cryptograms has occurred by chance rather than by intent is less than one part in one million-billion. Hence the messages must be accepted as the intentional creations of the authors – Oxford (not Thomas Thorpe, as usually assumed) for the Dedication, and Ben Jonson for the Inscription. The cryptograms confirm the orthodox suspicion that the intended recipient of the Sonnets was Henry Wriothesley, 3rd Earl of Southampton (so also confirming the orthodox belief that Southampton was the “Fair Youth” of the Sonnets). These discoveries resolve some of the well-known outstanding puzzles concerning the Authorship Issue such as the Author’s familiarity with Europe and its languages (especially Italy), his intricate knowledge of the lives of monarchs and nobility, his detailed and highly accurate knowledge of the law, etc. (see Table 1). However, this change in perspective necessarily raises new questions that will call for new research.Keywords: Shakespeare, Edward de Vere, William Shakspere, cryptograms, Cardano Grille

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