But they do pretend to be, and therein is the difference.Paglia and Frank have similar views on the religious references made throughout the poem. Frank believes that the last sestet, however, is not as "happy" as some may believe. Referencing line 1, she notes that Fortune (personified) has actually abandoned the poor Speaker. His depression is derived from his being separated from the young man, even more so because he envisions the youth in the company of others while the poet is "all alone." Elizabeth Harris Sagaser sets Sonnet 29 apart from other Elizabethan sonnets in that the speaker is the main focus, as opposed to many love sonnets of the time focused entirely on the object of the speaker's affection, or so of the poet's desire; this would seem that the poem is about the woman, not the speaker. English Language Paper 1; English Language Paper 2; English Literature Paper 1 Section A: Macbeth; English Literature Paper 1 Section B: A Christmas Carol; English Literature Paper 1 Section A: Romeo and Juliet; Like many of Shakespeare's sonnets, "Sonnet 29" is a love poem. "Stylistically, Sonnet 29 is typically Shakespearean in its form. The Speaker first states that heaven is deaf to his "bootless [useless] cries" (line 3). Sonnet XXIX. This creates another contrast in the poem. Both authors note the lack of any reference to God and how the Speaker instead speaks only of heaven. However, Sasager says, "I do not mean to imply that... (these poems) are themselves 'about' particular beloveds. Additionally, the different meanings of state — as a mood and as a lot in life — contrast the poet's sense of a failed and defeated life to his exhilaration in recalling his friendship with the youth. The once jealous and desperate Speaker has now found solace in love knowing that love "dims all material things". She had a social conscience and was an opponent to slavery and child labour. This sudden emotional jump (along with the pattern of the "state") displays the Speaker's "wild mood swings". Literature Notes Elizabeth Harris Sagaser sets Sonnet 29 apart from other Elizabethan sonnets in that the speaker is the main focus, as opposed to many love sonnets of the time focused entirely on the object of the speaker's affection, or so of the poet's desire; this would seem that the poem is about the woman, not the speaker. Paul Ramsey points out the line three specifically as "one of the most perturbed lines in our language".Lines two and four are metrically regular, but alternate with lines (one and three) which are more metrically complex, a tendency that continues throughout the poemWhile the third line's rhythm is unusual, it is not in itself (Both "deaf" and "heaven" (here scanned as one syllable) have tonic stress, but that of "deaf" is normally subordinated to that of "heaven", allowing them comfortably to fill odd/even positions, but not even/odd. Sasager, Elizabeth H. "Shakespeare's Sweet Leaves: Mourning, Pleasure, and the Triumph of Thought in the Renaissance Love Lyric," Peter Groves calls this a "harsh mapping", and recommends that in performance "the best thing to do is to prolong the subordinated S-syllable [here, "deaf"] ... the effect of this is to throw a degree of emphasis on it".As the poem moves from the octave to the sestet, Frank makes note of the Speaker's "radical movement from despair to alert". It was most likely written in the 1590s, though it was not published until 1609. The ‘answer’ or resolution comes in the final couplet. The first "state" referring to the Speaker's condition (line 2), the second to his mindset (line 10), and the third to "state" of a monarch or kingdom (line 14). 21st February 2017 7th May 2017 Analytical, GCSE, poetry.

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