i need help with analyzing SHAKESPEARE'S SONNET "that time of year thou mayst in me behold"?
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http://www.gradesaver.com/classicnotes/titles/shakespeare/section10.html\n\n\nThis link gives a detailed analysis of the sonnet, which is known as Sonnet 73.
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Go here:\n\nhttp://www.sparknotes.com/shakespeare/muchado/themes.html\n\nIt's where I get all my Shakespeare motifs!!
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One thing to keep in mind, when reading the O.T. is that even though you read it literally, you must keep in mind the literary context of the passage, and the culture and time it was written in. \nFirst, this was written to a young nation, just coming out of slavery, and facing some formidable enemies.\nSecond, They had seen miracles unike anything any nation before or since, has seen, so they had a higher level of accountability for their actions - For an Israelite of this time to entice another to turn from God would be a great offence, because they were responsible for a huge amount of revelation from God.\n\nI think the modern-day equivalent would be executing a Traitor or a spy - not at all unheard of even in the last century. Because Israel at this time was a Theocracy, idolotry would be the same as becoming an "enemy of the state".\n\nwrathpuppet, I know you don't believe the Bible is God's Word, but you still might consider taking an introductory course on Biblical exegesis - I think you would find it quite interesting (and maybe even profitable).\n\nBackground studies may be divided into two areas — semantics and pragmatics. Semantics is the study of the language of a text, while pragmatics is the study of the circumstances surrounding the individual linguistic expressions. Exegesis must give equal weight to both areas.\n\n(The particular passage in question was a national law for the fledgling nation of Israel, which was a Theocracy remember.)\n\nFinally (and I think this is your main concern in posting this question), there is application - i.e. what does this text tell me to do today? When you have a problem with the application of a verse, passage, etc, remember this: no Scripture is of any private interpretation - Scripture always interprets Scripture, so just keep reading and the application will present itself. In Romans 12:21-13:10 it says \n12:21 Do not be overcome by evil, but overcome evil with good. \n13:1 Let every soul be subject to the governing authorities. For there is no authority except from God, and the authorities that exist are appointed by God.\n2 Therefore whoever resists the authority resists the ordinance of God, and those who resist will bring judgment on themselves.\n3 For rulers are not a terror to good works, but to evil. Do you want to be unafraid of the authority? Do what is good, and you will have praise from the same.\n4 For he is God’s minister to you for good. But if you do evil, be afraid; for he does not bear the sword in vain; for he is God’s minister, an avenger to execute wrath on him who practices evil.\n5 Therefore you must be subject, not only because of wrath but also for conscience’ sake.\n6 For because of this you also pay taxes, for they are God’s ministers attending continually to this very thing.\n7 Render therefore to all their due: taxes to whom taxes are due, customs to whom customs, fear to whom fear, honor to whom honor.\n8 Owe no one anything except to love one another, for he who loves another has fulfilled the law. \n9 For the commandments, “You shall not commit adultery,” “You shall not murder,” “You shall not steal,” “You shall not bear false witness,” “You shall not covet,” and if there is any other commandment, are all summed up in this saying, namely, “You shall love your neighbor as yourself.”\n10 Love does no harm to a neighbor; therefore love is the fulfillment of the law.\n\nSo, there you have the answer, in modern application of the Deuteronomy 13:6-10 \n1. Evil is to be overcome with good, 2. we know that we must obey the governing authority, and the laws they impose, and 3. that we must love our neighbor, it is not good to kill my neighbor, it is unloving to kill my neighbor, and it is unlawful to kill my neighbor.\n\nConclusion: As a Biblical Christian, I must not kill my friend when he invites me to participate in a pagan ritual or attend a yoga session.\n\nP.S. Schneb's study on the Law  bel
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Shakespear's Sonnet 18.
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William Shakespeare - "Twelfth Night", Act I scene i
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Verse 18:\nHere is wisdom. That is, in what is stated respecting the name and the number of the name of the beast. The idea is, either that there would be need of peculiar sagacity in determining what the "number" of the "beast" or of his "name" was, or that peculiar "wisdom" was shown by the fact that the number could be thus expressed. The language used in the verse would lead the reader to suppose that the attempt to make out the "number" was not absolutely hopeless, but that the number was so far enigmatical as to require much skill in determining its meaning. It may also be implied that, for some reason, there was true "wisdom" in designating the name by this number, either because a more direct and explicit statement might expose him who made it to persecution, and it showed practical wisdom thus to guard against this danger; or because there was "wisdom" or skill shown in the fact that a number could be found which would thus correspond with the name. On either of these suppositions, peculiar wisdom would be required in deciphering its meaning. \n\nLet him that hath understanding. Implying \n\n(a) that it was practicable to "count the number of the name;" and \n\n(b) that it would require uncommon skill to do it. It could not be successfully attempted by all; but still there were those who might do it. This is such language as would be used respecting some difficult matter, but where there was hope that, by diligent application of the mind, and by the exercise of a sound understanding, there would be a prospect of success. \n\nCount the number of the beast. In Rev 13:16, it is "the number of his name." The word here rendered "count"-- qhfisatw--means, properly, to count or reckon with pebbles, or counters; then to reckon, to estimate. The word here means compute; that is, ascertain the exact import of the number, so as to identify the beast. The "number" is that which is immediately specified, "six hundred threescore and six"--666. The phrase "the number of the beast" means, that somehow this number was so connected with the beast, or would so represent its name or character, that the "beast" would be identified by its proper application. The mention in Rev 13:17 of "the name of the beast," and "the number of his name," shows that this "number" was somehow connected with his proper designation, so that by this he would be identified. The plain meaning is, that the number 666 would be so connected with his name, or with that which would properly designate him, that it could be determined who was meant by finding that number in his name or in his proper designation. This is the exercise of the skill or wisdom to which the writer here refers: substantially that which is required in the solution of a riddle or a conundrum. If it should be said here that this is undignified and unworthy of an inspired book, it may be replied \n\n(a) that there might be some important reason why the name or designation should not be more plainly made; \n\n(b) that it was important, nevertheless, that it should be so made that it would be possible to ascertain who was referred to; \n\n(c) that this should be done only in some way which would involve the principle of the enigma--"where a known thing was concealed under obscure language"--Webster's Dic.; \n\n(d) that the use of symbols, emblems, hieroglyphics, and riddles was common in the early periods of the world; and \n\n(e) that it was no uncommon thing in ancient times, as it is in modern, to test the capacity and skill of men by their ability to unfold the meaning of proverbs, riddles, and dark sayings. Compare the riddle of Samson, Jud 14:12, seq. See also Ps 49:4 78:2 Eze 17:2-8 Pr 1:2-6 Da 8:23 It would be a sufficient vindication of the method adopted here if it was certain or probable that a direct and
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Look at the Stratford-upon-Avon website they had a whole section on Shakespeare, when i was researching him.  Or buy one of his plays in the Arden edition books, they are really good, i use them they really help me.
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7 Ages of Man.\n\nIt's a poem by William Shakespeare\n\nAll the world's a stage, \nAnd all the men and women merely players, \nThey have their exits and entrances, \nAnd one man in his time plays many parts, \nHis acts being seven ages. At first the infant, \nMewling and puking in the nurse's arms. \nThen the whining schoolboy, with his satchel \nAnd shining morning face, creeping like snail \nUnwillingly to school. And then the lover, \nSighing like a furnace, with a woeful ballad \nMade to mistress' eyebrow. Then a soldier. \nFull of strange oaths, and bearded like the pard, \nJealous in honour, sudden and quick in quarrel, \nSeeking the bubble reputation \nEven in the cannon's mouth. And then the justice, \nIn fair round belly with good capon lined, \nWith eyes severe and beard of formal cut, \nFull of wise saws and modern instances; \nAnd so he plays his part. The sixth age shifts \nInto the lean and slippered pantaloon, \nWith spectacles on nose and pouch on side, \nHis youthful hose, well saved, a world too wide, \nFor his shrunk shank; and his big manly voice, \nTurning again towards the childish treble, pipes \nAnd whistles in his sound. Last scene of all, \nThat ends this strange eventful history, \nIs second childishness and mere oblivion, \nSans teeth, sans eyes, sans taste, sans everything.
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First look at the tone of the poem. Then look for the nouns in the poem, and what they could represent metaphorically. Then see if they're connected. I don't know this poem, but say, for example, maybe falling snow (noun) is a metaphor for the author's declining health. Maybe the cold (another noun) is similar metaphorically. There's your theme.
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I can give you the themes and you should be able to knock together your own essay:\n\nYou need to give it a modern twist - so how about comparing it to the current view of Muslims and terrorists (using the themes below). A certain A Grade.\n\n1) Intolerance\n\nThe Crucible is set in a theocratic society: the church and the state are one, religion is strict - known as Puritanism. moral laws and state laws are the same: sin and the status of an individual’s soul are matters of public concern. There is no room for deviation, since any individual whose private life doesn’t conform to the established moral laws represents a threat not only to the public good but also to the rule of God. In Salem, everything and everyone belongs to either God or the Devil; dissent is not merely unlawful, it is associated with satanic activity. This is underlying logic behind the witch trials. As Danforth says in Act III, “a person is either with this court or he must be counted against it.” The witch trials are the ultimate expression of intolerance (and hanging witches is the ultimate means of restoring the community’s purity.\n\nWE ARE INTOLLERENT OF MUSLIMS\n\n2) Hysteria - is tearing apart a community. Hysteria supplants logic and enables people to believe that their neighbors, whom they have always considered upstanding people, are committing absurd and unbelievable crimes—communing with the devil, killing babies, and so on. It also allows folk to air their pent up grievences and grudges.\n\nThe most obvious case is Abigail, who uses the situation to accuse Elizabeth Proctor of witchcraft and have her sent to jail. But others thrive on the hysteria as well: Reverend Parris strengthens his position within the village, albeit temporarily, by making scapegoats of people like Proctor who question his authority. The wealthy, ambitious Thomas Putnam gains revenge on Francis Nurse by getting Rebecca, Francis’s virtuous wife, convicted of the supernatural murders of Ann Putnam’s babies. In the end, hysteria can thrive only because people benefit from it. It suspends the rules of daily life and allows the acting out of every dark desire and hateful urge under the cover of righteousness.\n\nWE THINK ALL MUSLIMS ARE TERRORISTS\n\n3) Reputation\n\nReputation is tremendously important in theocratic Salem, where public and private moralities are one and the same. In an environment where reputation plays such an important role, the fear of guilt by association becomes particularly pernicious. Focused on maintaining public reputation, the townsfolk of Salem must fear that the sins of their friends and associates will taint their names. Various characters base their actions on the desire to protect their respective reputations. As the play begins, Parris fears that Abigail’s increasingly questionable actions, and the hints of witchcraft surrounding his daughter’s coma, will threaten his reputation and force him from the pulpit. Meanwhile, the protagonist, John Proctor, also seeks to keep his good name from being tarnished. Early in the play, he has a chance to put a stop to the girls’ accusations, but his desire to preserve his reputation keeps him from testifying against Abigail. At the end of the play, however, Proctor’s desire to keep his good name leads him to make the heroic choice not to make a false confession and to go to his death without signing his name to an untrue statement. “I have given you my soul; leave me my name!” he cries to Danforth in Act IV. By refusing to relinquish his name, he redeems himself for his earlier failure and dies with integrity.\n\nWE BELIEVE THAT MUSLIMS ARE BAD AS IT IS THE AMERICAN THING TO DO. OTHERWISE - WHAT OF THE REPUTATION OF OUR SOLDIERS IN IRAQ?
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One of the main ways the poem speaks' (the Diction?) is through the rhythm. It is slow and unhurried like the footsteps of the people carrying Sir John and like the drum beat at a funeral.  Otherwise there isn't a lot of imagery.  There is the 'struggling moonlight' perhaps an image of their own struggle in Battle.  The words are all short and clear, like a soldiers, and like his own funeral with no pomp though he was a hero.
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Some have suggested that this poem is about suicide, although I've always been of the opinion that its one of those "taking stock of your life" poems.  Everything in Frost has a duel meaning.  There is the surface meaning and the underlying meaning.  The "darkest evening of the year" would suggest its around Dec 21, but the deeper meaning would suggest that its a dark time emotionally for the speaker.  The woods, he says, are "lovely, dark, and deep" and this would suggest that its tempting to quit the road you're on but the speaker "has promises to keep."  This indicates that he has a commitment to the road he's on and "miles to go" before he is done, indicating there is still a lot to do.\n\nThis is why I believe this is a poem about a person reflecting on their life's journey, contemplating what might be, and recommitting themselves.  These are all common themes in Frost (ie The Road Not Taken).
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Prologue\n\nArguably Shakespeare's most famous play begins with a Prologue which establishes that this play will be a tragedy and that the children of two feuding families, Romeo of the Montague family and Juliet of the Capulet family, will both love and die in the course of this play...\n\nAct I.\n\nSampson and Gregory, servants to the Capulets and Abraham and Balthasar, servants to the Montague family start a street fight, which is joined by Benvolio (Montague) and Tybalt (Capulet). Escalus, the Prince of Verona who angrily learns of this fight, declares a death penalty for further feuding between the two families. Romeo we learn is lovesick; Rosaline, the object of his affections will not requite (return) his love. His friend Benvolio tells Romeo to look at other girls...\n\nMeanwhile Capulet is keen for Paris to marry his daughter Juliet and plans a party to be held later that night. Romeo and friends decide to turn up uninvited, Romeo hoping to see Rosaline, whom he still pines for...\n\nLady Capulet discusses the idea of marriage to Paris with Juliet. Juliet keeps her options open. The Nurse wishes Juliet every possible happiness...\n\nMeanwhile Mercutio attempts to cheer a lovesick Romeo up, telling him to be rough with love if need be.\n\nAt the Capulet's party, Romeo who is disguised by a masque (mask), falls in love with Juliet on sight. Capulet stops Tybalt from attacking Romeo at his party, telling him there will be other opportunities. Both Romeo and Juliet learn that they are each enemies of the other's family... A Prologue sung by a choir dramatizes the conflict both Romeo and Juliet feel between their love for one another and their loyalty to their respective families.\n\nAct II.\n\nIgnoring the danger, Romeo scales the Capulet's wall to be near Juliet, the woman he cannot forget... Unnoticed in Juliet's orchard, Romeo learns of Juliet's love for him. After declaring their feelings for each other, the two decide to marry. Juliet will send Romeo a messenger in the morning to make plans for their wedding...\n\nThe very next day, we meet Romeo's friend, Friar Laurence. He wonders how Romeo can forget Rosaline so quickly but agrees to marry the two since he hopes this marriage it will end the long running Montague / Capulet feud...\n\nRomeo catches up with his friends Mercutio and Benvolio. Juliet's messenger, the Nurse, arrives and the wedding is set for later that day. The Nurse brings Romeo "cords" or ropes which will allow Romeo to climb into Juliet's bedchamber as her husband later that night... Act II ends with Romeo and Juliet's marriage.\n\nAct III.\n\nBenvolio and Mercutio (both Montagues) meet Tybalt (Capulet). Tybalt attempts to provoke Romeo into fighting. Mercutio fights Tybalt and is killed. Romeo then kills Tybalt. Escalus, the Prince of Verona banishes Romeo from Verona threatening death should he ever return. Juliet learns of Romeo killing Tybalt and despite being torn between her loyalty for her family and Romeo, mourns her husband Romeo's banishment.\n\nRomeo learns of the banishment order, realizing he will not be able to see Juliet again. Friar Laurence suggests Romeo go to Juliet's bed chamber to comfort his wife... Capulet, who does not know of Romeo and Juliet's marriage, decides that the marriage of Juliet to Paris must now proceed, bidding his wife to make Juliet aware of Paris' love for her. The day of the marriage has been decided; it will be Thursday.\n\nWe learn that Romeo has spent the night with his Juliet. Juliet who is now already secretly married to Romeo, learns that she is to marry Paris. She tries to fight her father's wishes, failing to dissuade him. Juliet decides to commit suicide if all else fails...\n\nAct IV.\n\nParis reveals that the wedding will occur on Thursday. Juliet is cold to Paris. Friar Laurence tells Juliet to take a potion simulating death, allowing Romeo to take her away, unopposed to Mantu
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http://www.sparknotes.com/shakespeare/merchant/themes.html
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Which speech? Try Act 1 Scene 3. \nhttp://www.onlineshakespeare.com/merchant.html#xref004\n\nStarts:\nSHYLOCK I am debating of my present store,\nAnd, by the near guess of my memory,\nI cannot instantly raise up the gross\nOf full three thousand ducats. What of that?\nTubal, a wealthy Hebrew of my tribe,\nWill furnish me. But soft! how many months\nDo you desire?\n[To ANTONIO]\nRest you fair, good signior;\nYour worship was the last man in our mouths.
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Try this\n\nFarewell! thou art too dear for my possessing,\nAnd like enough thou know'st thy estimate:\nThe charter of thy worth gives thee releasing;\nMy bonds in thee are all determinate.\nFor how do I hold thee but by thy granting?\nAnd for that riches where is my deserving?\nThe cause of this fair gift in me is wanting,\nAnd so my patent back again is swerving.\nThyself thou gavest, thy own worth then not knowing,\nOr me, to whom thou gavest it, else mistaking;\nSo thy great gift, upon misprision growing,\nComes home again, on better judgment making.\nThus have I had thee, as a dream doth flatter,\nIn sleep a king, but waking no such matter. \n\nWilliam Shakespeare Sonnet 87
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Post the poem or at least a link to it, and be more specific about what you need help analyzing.