Shakespearean Sonnets?
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A very complete page. It has literary analysis
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Shakespear's Sonnet 18.
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no-brainer. \n\nWilliam Shakespeare - the bard\n\nHe didn't go and kill himself - how cliche!  He wasn't completely self-absorbed like many artists and writers today.\n\nWilliam Shakespeare: 46 works + countless sonnets\n\nErnest Hemingway: 27 works + poems
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Notable is Iambic Pentameter- each line has 10 syllables, with emphasis on every other one.  Also, his dialogue is witty, full of double meaning and puns, and rapid fire:\nHere's the opening of Romeo and Juliet:\n  Sam.  Gregory, o’ my word, we’ll not carry coals. \n  Gre.  No. for then we should be colliers.   4\n  Sam.  I mean, an we be in choler, we’ll draw. \n  Gre.  Ay, while you live, draw your neck out o’ the collar. \n \nLots of wordplay.\n\nAlso, obviously, he wrote in Elizabethan english.
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This does not exactly answer your question, but Shakespeare made up many of the words in his plays that have become common words today.  I can't think of one right off, but we had a big discussion about it in my upper division college English class.  There are a lot of words that we just assume have always been around, but in reality Shakespeare made them up.
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Awesome poem!\nAmazing!! lol...\nu were 10 or 11? that's so amazing!
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Shakespeare really  came up with his plays, however   Nicholas Rowe and Alexander Pope, were responsible for publishing/editing the plays, so it is hard to say what Shakespeare's original words really were. There is also speculation that Shakespeare was not "smart" enough to come up with the plays that he did. Some believe it could be different Earl's and auhtority figures, but I hardly believe it.
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Two comprehensive sites that cover loads of works by loads of authors, such as theme, character analysis, so on and so forth. All of Shakespeare's plays are covered and it's free to down load!\n\nhttp://www.sparknotes.com/lit\n\nhttp://www.cliffsnotes.com/wileycda/litn...\n\nOnce there navigate around and use the search facility to find what you need. Highly recommended. Good Luck.\n\nKevin, Liverpool, UK.
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William Shakespeare's plays among others, like Beaumont, Jonson etc. (17th Century)
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SONNET 29 PARAPHRASE \nWhen, in disgrace with fortune and men's eyes, When I've run out of luck and people look down on me, \nI all alone beweep my outcast state All alone I lament my fate as an outcast* \nAnd trouble deaf heaven with my bootless cries And pray to heaven but my cries go unheard \nAnd look upon myself and curse my fate, And look at myself, cursing my fate, \nWishing me like to one more rich in hope, Wishing I were like one* who had more hope in life \nFeatured like him, like him with friends possess'd, Wishing I looked like him; wishing I were surrounded by friends, \nDesiring this man's art and that man's scope, I desire this man's art and that man's range*, \nWith what I most enjoy contented least; I am least contented with what I used to enjoy most. \nYet in these thoughts myself almost despising, But in this mood almost despising myself, \nHaply I think on thee, and then my state, I think of you and then my state of sadness \nLike to the lark at break of day arising Like the lark at the break of day, rises \nFrom sullen earth, sings hymns at heaven's gate; From the gloomy earth and I sing hyms to heaven; \nFor thy sweet love remember'd such wealth brings For thinking of your love brings such happiness to mind \nThat then I scorn to change my state with kings. That then I would not change my state with kings. \nANALYSIS\n\n\n[Line 2]* - The poet's 'outcast state' is possibly a reference to his lack of work as a player due to the closing of the theatres in 1592. It also could be a reference to the attack on Shakespeare at the hands of Robert Greene (see below). \n\n[Line 5]* - Sometimes editors report that, in lines 5 and 6, the poet is referring to his friend, likely the Earl of Southampton. However, if lines 13 and 14 are addressed to the friend, then the previous reference to the friend in lines 5 and 6 seems out of place and illogical. It makes more sense to assume that lines 5 and 6 are not addressed to one person in particular, in keeping with the later references to "this man's art" and "that man's scope". \n\n[Line 7]* - "range" = "range of opportunity". \n\nSonnet 29 shows us the poet at his most insecure and troubled. He feels himself unlucky, disgraced, and jealous of those around him. What is causing the poet's anguish one can only guess, but an examination of the circumstances surrounding his life at the time he wrote sonnet 29 could help us to understand his depression. In 1592, the London theatres closed due to a severe outbreak of the plague. Although it is possible that Shakespeare toured the outlying areas of London with acting companies like Pembroke's Men or Lord Strange's Men, it seems more likely that he left the theatre entirely during this time, possibly to work on his non-dramatic poetry. The closing of the playhouses made it hard for Shakespeare and other actors of the day to earn a living. With plague and poverty threatening his life, it is only natural that he felt "in disgrace with fortune". Moreover, in 1592 there came a scathing attack on Shakespeare by dramatist Robert Greene, who wrote in a deathbed diary: "There is an upstart crow, beautified with our feathers, that with his Tygers heart wrapt in a Players hide supposes he is as well able to bombast out a blank verse as the best of you; and, being an absolute Johannes Factotum, is in his own conceit the only Shake-scene in a country." Shakespeare was deeply disturbed by this assault, feeling disgraced in "men's eyes" as well as fortune's.\n\nThe poet is so forlorn that even the passion for his profession as an actor seems to have died (8). But the sonnet ends with a positive affirmation that all is not lost -- that the poet's dear friend can compensate for the grief he feels. See the analysis of Sonnet 30 for more information.
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Let me see if I can break it down. I studied Shakespeare but I am not real familar with this sonnet.\n\nIn the old age black was not counted fair,\nOr if it were, it bore not beauty's name;\n(the color black was not considered something of beauty)\n\nBut now is black beauty's successive heir,\nAnd beauty slandered with a bastard shame:\n(not sure, successive heir would be like a son or daughter,\n beauty slandered - talked or gossiped about\n bastard shame - embarrassing)\n\nFor since each hand hath put on Nature's power, \nFairing the foul with Art's false borrowed face,\n(Each hand is showing its age\n The face will soon follow)\n\nSweet beauty hath no name, no holy bower,\nBut is profaned, if not lives in disgrace.\n(Beauty has no real power, it alters, changes,\n Not sure of second line)\n\nTherefore my mistress' eyes are raven black,\nHer eyes so suited, and they mourners seem\n(My lover's eyes are black\n They seem suited for crying or sadness)\n\nAt such who, not born fair, no beauty lack,\nSland'ring creation with a false esteem:\n(Not born beautiful or lacking in beauty\n Taunting nature with an inner beauty)\n\nYet so they mourn becoming of their woe,\nThat every tongue says beauty should look so.\n(The beautiful people cry\n because the inner beauty is the more beautiful)\n\nOkay thats my interpetation of it.  Not saying I'm right with all of it, but I hope I helped you to understand it better.
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Check out www.luminarium.org\n\nThe Folger Shakespeare Library site has some good stuff as well.
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You mean poetry I assume?\n\nWell, I would think that the most famous would be Shakespeare's sonnets, The sonnets of the portugease, Elizabeth Barrett Browning, and Ovid (can't remember the title of the book), Also there is the Rubiat of Omar Khiam (not sure on spelling). A Book called Best Loved Poems of the American People has a large chapter of some more famous love poems or odes. \n\nGo to your library and check out the poetry section also try the link below\n\nOne of my favorites, for its simplicity, is this one from Leigh Hunt\n\nJenny kissed me when we met,\nJumping from the chair she sat in;\nTime, you thief, who love to get\nSweets into your list, put that in!\nSay I'm weary, say I'm sad,\nSay that health and wealth have missed me,\nSay I'm growing old, but add,\nJenny kissed me.
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Do you mean Shakespeare's sonnet #3?\n\nIt was written in his early sonnets where he was trying to persuade a man to marry. \n\nBasically this poem is trying to persuade a man to marry and have kids. The poet is telling the man that he's not getting any younger and he needs to have kids now. That its cruel to leave a womans womb unused and empty.
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There was a survey done on this and the results were as follows:\n\n\nShakespeare quotes are full of passion and wisdom, sometimes with a shade of sarcasm. The passion in Shakespeare quotes never fails to move the reader. What's more, these quotes remain relevant today as they reflect the values and beliefs of our society. Here is a top 10 list of Shakespeare quotes that will leave you yearning for more. \n\n1) Hamlet, III:1\nTo be, or not to be: that is the question.\n\n2) All's Well That Ends Well, I:2\nLove all, trust a few, do wrong to none.\n\n3) From Romeo and Juliet, II:2\nGood night, good night! Parting is such sweet sorrow.\n\n4) Twelfth Night, II:5\nBe not afraid of greatness. Some are born great, some achieve greatness, and some have greatness thrust upon 'em.\n\n5) Merchant of Venice, III:1\nIf you prick us do we not bleed? If you tickle us do we not laugh? If you poison us do we not die? And if you wrong us, shall we not revenge? \n\n6) Hamlet, I:5\nThere are more things in heaven and earth, Horatio, than are dreamt of in your philosophy.\n\n7) MacBeth, I:3\nIf you can look into the seeds of time, and say which grain will grow and which will not, speak then to me.\n\n8) Twelfth Night, III:1\nLove sought is good, but given unsought is better.\n\n9) Antony & Cleopatra, III:4\nIf I lose mine honour, I lose myself.\n\n\n10) Midsummer Night's Dream, V:1\nIt's not enough to speak, but to speak true.\n\n\nHowever, my personal favourite remains this from "Romeo and Juliet"\n\nAct II \nScene II\n \nJuliet:                       ‘Tis but thy name that is my enemy:\n\n                                Though art thyself, though not a Montague.\n\n                                Nor arm nor face nor any other part\n\n                                Belonging to a man. O be some other name.\n\n                                What’s in a name? That which we call a rose\n\n                                      By any other word would smell as sweet;\n\n                                So Romeo would, were he not Romeo call’d,\n\n                                Retain that dear perfection which he owes\n\n                                Without that title. Romeo, doff thy name,\n\n                                And for thy name, which is no part of thee,\n\n                                Take all myself.
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http://www.sparknotes.com/shakespeare/merchant/themes.html
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This is 19 lines, but it is a great poem and a fantastic oral presentation!  Good luck!\n\n \nDylan Thomas. Funny-looking chap, but chicks dug him. \nDo not go gentle into that good night,\nOld age should burn and rave at close of day; \nRage, rage against the dying of the light. \n\n\nThough wise men at their end know dark is right, \nBecause their words had forked no lightning they \nDo not go gentle into that good night. \n\n\nGood men, the last wave by, crying how bright \nTheir frail deeds might have danced in a green bay, \nRage, rage against the dying of the light. \n\n\nWild men who caught and sang the sun in flight, \nAnd learn, too late, they grieved it on its way, \nDo not go gentle into that good night. \n\n\nGrave men, near death, who see with blinding sight \nBlind eyes could blaze like meteors and be gay, \nRage, rage against the dying of the light. \n\n\nAnd you, my father, there on the sad height, \nCurse, bless me now with your fierce tears, I pray. \nDo not go gentle into that good night. \nRage, rage against the dying of the light. \n\n\nDylan Thomas, 1951 or 1952 \n\n\nA Villanelle is a 19-line poem consisting of five tercets and a final quatrain on two rhymes, with the first and third lines of the first tercet repeated alternately as a refrain closing the succeeding stanzas and joined as the final couplet of the quatrain. The word is French, derived from Italian villanella, the feminine of villanello, rustic; from villano, peasant; from Vulgar Latin villanus; from Latin villa, a country house. \n\n"Addressed to the poet's father as he approached blindness and death. The relevant aspect of the relationship was Thomas's profound respect for his father's uncompromising independence of mind, now tamed by illness. In the face of strong emotion, the poet sets himself the task of mastering it in the difficult form of the villanelle. Five tercets are followed by a quatrain, with the first and last line of the stanza repeated alternately as the last line of the subsequent stanzas and gathered into a couplet at the end of the quatrain. And all this on only two rhymes. Thomas further compounds his difficulty by having each line contain 10 syllables".