William Shakespeares Sonnet 73 Essays - Sonnet 73, Sonnet 7

William Shakespeare's Sonnet 73 That time of year thou mayst in me behold When yellow leaves, or none, or few, do hang Upon those boughs which shake against the cold, Bare ruin'd choirs, where late the sweet birds sang. In me thou see'st the twilight of such day As after sunset fadeth in the west, Which by-and-by black night doth take away, Death's second self, that seals up all in rest. In me thou see'st the glowing of such fire That on the ashes of his youth doth lie, As the death-bed whereon it must expire, Consum'd with that which it was nourish'd by. This thou perceiv'st, which makes thy love more strong, To love that well which thou must leave ere long. Many sonnets written by William Shakespeare deal with tragedy, love and death, in sonnet seventy-three he focuses on death along with the signs of aging. Whether or not he is the subject of the sonnet or an observer, he expresses everything as if he were the subject. Shakespeare was at an age in his life where he could relate to the sonnet, which made the poem so much more effective. The subject of this sonnet is being looked at, and the observer comes to the conclusion that they see late fall, twilight and a dying fire; that is, the observer realizes that the person is getting old and they will soon lose him. Shakespeare's way of reflecting the onset of aging and death is expressed through many literary techniques like theme, imagery, and wordplay. The significant points that reflect the onset of aging and death are portrayed through the metaphors of a tree at the end of autumn and a dwindling fire. This sonnet takes place in autumn, because in the very beginning a tree is being compared to the person. "When yellow leaves, or none, or few, do hang." The yellow leaves falling in autumn supports the idea of winter?s immediate approach, which indirectly suggests that people get old and will parish as years slip by. This could also be taken as a metaphor, suggesting there are only a few years left on the subject's tree, of life. "Bare ruined choirs, where once the sweet late bird sang" tells the reader that in the summer time the birds would be on the branches singing like a church choir; whereas, in autumn the birds do not sing because they are gone from the bare branches. Another metaphor of the tree of life being bare. Shakespeare sees sleeping and twilight as "Death's second self", because as night approaches people are unconscious like being dead. Shakespeare also suggests that the person is nearing the end of his life when such fire is glowing. The glowing of the fire is nourished by the burnt wood, and as the wood gets smaller the fire dyes out. Along with theme as a significant point, imagery is what paints a picture of the onset of aging and death. Shakespeare not only lets the readers read his sonnet, he lets the reader see an illustration with his descriptive words, "An essential 111 lesson."(Dr. Pettice, class) The setting is immediately presented in the beginning of the sonnet. The tree that is depicted in the autumn setting is compared to the subject of this sonnet. The tree is nearly bare with the wind blowing at the last leaves clinging on to the branches; only a few stubborn ones remaining. Although the description of the birds singing on the branches is that of the summer time, in contrast, the branches are bare in the autumn; the picture depicts the subject in his youthful years. Shakespeare's interpretation from the quote "...seals up all in rest" gives a couple of different images. That quotation can portray a coffin that is sealing up the lid, or when nightfall's people go to sleep; therefore, sleep indirectly implies death. The person and his own youth are lying on a bed of ashes that was fed by the burning of wood, which is compared to a deathbed. Shakespeare's imagery on death is expressed very successfully through the tree, deathbed and the coffin. Shakespeare sonnets use a va riety of words to manipulate the actual meaning of sentences. His creative words tell a story all by itself with the use of metaphors, from the words

Everything You Need to Know About Writing Great Reviews

Everything You Need to Know About Writing Great Reviews Does a career spent reviewing movies, music, books, TV shows, or restaurants seem like nirvana to you? Then you’re a born critic. But writing great reviews is an art, one that few have mastered. Here are some tips: Know Your Subject Too many beginning critics are eager to write but know little about their topic. If you want to write reviews that carry some authority, then you need to learn everything you can. Want to be the next Roger Ebert? Take college courses on the history of film, read as many books as you can and, of course, watch lots of movies. The same goes for any topic. Some believe that in order to be a truly good film critic you must have worked as a director, or that in order to review music you must have been a professional musician. That kind of experience wouldn’t hurt, but it’s more important to be a well-informed layman. Read Other Critics Just as an aspiring novelist reads the great writers, a good critic should read accomplished reviewers, whether it’s the aforementioned Ebert or Pauline Kael on film, Ruth Reichl on food, or Michiko Kakutani on books. Read their reviews, analyze what they do, and learn from them. Don’t Be Afraid to Have Strong Opinions Great critics all have strong opinions. But newbies who aren’t confident in their views often write wishy-washy reviews with sentences like â€Å"I sort of enjoyed this† or â€Å"that was okay, though not great.† They’re afraid to take a strong stand for fear of being challenged. But there’s nothing more boring than a hemming-and-hawing review. So decide what you think and state it in no uncertain terms. Avoid â€Å"I† and â€Å"In My Opinion† Too many critics pepper reviews with phrases like â€Å"I think† or â€Å"In my opinion.† Again, this is often done by novice critics afraid of writing declarative sentences. Such phrases are unnecessary; your reader understands that it’s your opinion you’re conveying. Give Background The critic’s analysis is the centerpiece of any review, but that’s not much use to readers if she doesn’t provide enough background information. So if you’re reviewing a movie, outline the plot but also discuss the director and his previous films, the actors, and perhaps even the screenwriter. Critiquing a restaurant? When did it open, who owns it and who’s the head chef? An art exhibit? Tell us a little about the artist, her influences, and previous works. Don’t Spoil the Ending There’s nothing readers hate more than a film critic who gives away the ending to the latest blockbuster. So yes, give plenty of background information, but dont give away the ending. Know Your Audience Whether you’re writing for a magazine aimed at intellectuals or a mass-market publication for average folks, keep your target audience in mind. So if you’re reviewing a film for a publication aimed at cineastes, you can wax rhapsodic about the Italian neo-realists or the French New Wave. If you’re writing for a wider audience, such references might not mean much. That’s not to say you can’t educate your readers in the course of a review. But remember – even the most knowledgeable critic won’t succeed if he bores his readers to tears.