BÀI 1: THE PASSIONATE SHEPHERD TO HIS LOVE – Christopher Marlowe -
Là 1 nhà viết kịch, nhà thơ… nổi tiếng vào thời kì văn học phục hưng -
Một trog những nhà viết kịch lớn nhất của thời đại Elizabeth và tiền bối xuât xắc của Shakepearl -
Văn phong: ô là nhà thơ đầu tiên sử dụng thể thơ blank verse
Come live with me and be my love,
And we will all the pleasures prove,
That valleys, groves, hills, and fields,
Woods, or steepy mountain yields. And we will sit upon rocks,
Seeing the shepherds feed their flocks,
By shallow rivers to whose falls
Melodious birds sing madrigals.
And I will make thee beds of roses
And a thousand fragrant poises, A cap of flowers, and a kirtle
Embroidered all with leaves of myrtle;
A gown made of the finest wool,
Which from our pretty lambs we pull;
Fair lined slippers for the cold,
With buckies of the purest gold; A belt of straw and ivy buds,
With coral clasps and amber studs;
And if these pleasures may thee move,
Come live with me, and be my love.
The shepherds’ swains shall dance and sing
For thy delight each May morning:
If these delights thy mind may move,
Then live with me and be my love. - - *Stanza 1:
Come live with me and be my love, a straight-forward or direct invitation/ request 
(Shepherd is a so confident person)
And we will all the pleasures prove, they will enjoy all 
the pleasures in the nature that
they can find in the English countryside, in the rural of England
That valleys, groves, hills, and fields,
Woods, or steepy mountain yields.
(3),(4) all are the typical pleasures in countryside, he offers the promises, he offer all
the beauty, all the pleasures on the countryside, these pleasures, beauty are very inviting
and appealing. Những cái niềm vui, thú vui điền viên ở thôn quê mà anh chàng này đưa
ra trong lời mời gọi rất là hấp dẫn đối với những ai Who ever never been live in
countryside, may be this girl live far away from the countryside and the shepherd want to
show her how poetic and peaceful is the English countryside. *Stanza 2:
The shepherd come to describe inmore details how they would enjoy the pleasures when they being live together.
And we will sit upon rocks,  pleasures in their daily life sound very exciting, inviting Seeing the feed their flocks, shepherds
He bring him to his promise. It is implication that I’m 
very so happy, so sastify as a shepherd. By this way, he wants to idealize his hard work to invite
and seduce the girl. It is not easy work at all.
By shallow rivers to whose falls Melodious birds sing madrigals
 Đây là vào thời gian spring, early summer. The scenery is very beautiful, poetic,
romantic with the flower booming, the birds singing and the river shallow
 A care free life without worry and sorrow. If they enjoy the common life they just
enjoy the pleasure without working hard, woring about earning for their living at
all. ( cuộc sống êm đềm mà chàng chăn cừu vẽ ra trước mặt cô gái là một cuộc sống
hết sức là bình yên, thảnh thơi, chỉ tận hưởng những niềm vui mà k cần lo toan cuộc sống thường nhật. *Stanza 3,4:
And I will make thee beds of roses
And a thousand fragrant poises, A cap of flowers, and a kirtle
Embroidered all with leaves of myrtle;
A gown made of the finest wool,
Which from our pretty lambs we pull;
Fair lined slippers for the cold,
With buckies of the purest gold;
 In this two stanza the shepherd keep ofering the girl more gifts. He wish bring to the girl
all the gifts. Use a lot of hyperbole (exaggeration). All of gifts or promises sound to be
impossible or unachievable (how a poor shepherecan make…) Allusion of sexual interes
 Leaves of myrtles (ẩn dụ):lá sim là ever green – symbol of immortality
 The finest wool, the purest gold (superlative comparision) Emphasize value of his gifts.
Những tặng vật nghe có vẻ hoang đường so vs hiện thực và công việc của anh ta. Qua đó
cx lộ ra a ta là 1 người hênh hoang, hứa hẹn những tặng vật k thể có được và k lm ra dc. *Stanza 5,6:
A belt of straw and ivy buds, With coral clasps and ; amber studs
And if these pleasures may thee move,
Come live with me, and be my love.
The shepherds’ swains shall dance and sing For thy each May morning: delight
If these delights thy mind may move, Then live with and be me my love.
 Coral clasps, amber studs are luxurious, costly accessory
 More hyperbolic: unachievable
 It is impossible for him to turn it into truth
 Sensual place of play, sheer joy, dance
 Repetition (delights) he want to emphasize that what is the action of love, love is
pleasures, a carefree life, a sensual pleasures, no worry about sorrow, or responsibility.
 Me, my: he desire to possess her, want to turn her into his possesison, his treasure
 Khổ 5, khổ 6 càng lộ rõ những sự hênh hoang của a ta trog những tặng vật và
những câu thơ mang ẩn ý sỡ hữu, uncertain promises lộ rõ a ta là 1 người thiếu chân thành  Themes: -
Rural scenery in England - Love and pleasures -
BÀI 2: THE NYMPH'S REPLY TO THE SHEPHERD – Sir Walter Raleigh
If all the world and Love were young,
And truth in every Shepherd's tongue,
These pretty pleasures might me move,
To live with thee, and be thy love.
Time drives the flocks from field to fold,
When rivers rage, and rocks grow cold; And Philomel becometh dumb;
The rest complains of cares to come.
The flowers do fade, and wanton fields
To wayward winter reckoning yields;
A honey tongue, a heart of gall,
Is Fancy's spring, but Sorrow's fall.
Thy gowns, thy shoes, thy beds of roses,
Thy cap, thy kirtle, and thy posies,
Soon break, soon wither, soon forgotten,
In folly ripe, in reason rotten.
Thy belt of straw, and ivy-buds,
Thy coral clasps, and amber studs,
All these in me no means can move
To come to thee and be thy love
But could youth last and love still breed,
Had joys no date nor age no need,
Then these delights my mind might move
To live with thee and be thy love. -
Nymph: the young beautiful country girl. *Stanza 1:
If all the world and Love were young,
And truth in every Shepherd's tongue,
These pretty pleasures might me move,
To live with thee, and be thy love. -
If … werw: a subjunctive (hypothesis),”young” she doesn’t believe in the mortal life, the
eternal love and the truth of the sepherd word and true gift given by the shepherd . -
Shepherd’s tongue: mmetonymy to the shepherd’s words, speech, promises. -
May me move: may is the modal verb that show uncertain possibility. The nymth use the
modal verd in orther to show her skeptical attitude and indirect rejection.
 Cảm nhận dc thái độ rõ ràng của cô thôn nữ qua câu giả định, nếu như tình yêu này là
vĩnh cửu, những lời hứa là sự thật thì e mới có thể yêu a. Những câu giả định này là lời từ
chối tế nhị của cô thôn nữ đối với lời tỏ tình của chàng chăn cừu. *Stanza 2: Time: reason for changes -
Flock from field to fold -
Rocks grow cold -
Philomel (nightingale) no longer singing  -
The rest of people comlains of the woes and hardships caused by winter.
 Cô thôn nữ chỉ ra nguyên nhân của tất cả sự thay đổi tromg vạn vật đó chính là thời
gian. Thời gian khiến cho bậy cừu phải trở về chuồng, mùa đông khác nghiệt khiến
cho sông dâng tràn cả vào những tản đá, những con chim sơn ca ko còn ca hát
những khúc hát ngọt ngào mà phải trở về tổ; loài người ko còn than thở. Những lý
lẽ này của cô thôn nữ rất thwujc tế, hợp lý, thời gian có sức mạnh hủy diệt, lớn, nó
hủy hoại mọi vật trog thế giới này. *Stanza 3: The flowers do , and fade wanton fields To r reckoning yields; wayward winte
A honey tongue, a heart of gall, a heart of bitterness 
Is Fancy's spring, but Sorrow's fall.--> idiom
- Repititon of consonant sound: Alliteration of consonants to emphasize the
impermanence of spring, ruined by coming winter.
- a money tongue: metonomy to shepherd’s sweet promises. If the nymth easily
truth the word of shepherd, she will soon suffer from bitterness and bleeding. nếu
như cô tin vào những rời đường mật thì sớm hay luôn trái tim cô cx sớm rỉ máu
- spring and fall two seasons in nature, but they are alos the seasons in human
lifetime. Spring is youth, fall is olg age in human life’stime. Mùa xuân thì rực rỡ còn
mùa thu thì tàn úa. Tuổi trẻ thì đẹp, rực rỡ, nhưng tuổi già thì cô đơn, triết bóng.
“Spring is fancy, but fall is sorow”. Fancy nghĩa là ảo tưởng imagination, illusion.
 imagianted things proves nothing but sadness.
 Youth is beautiful but old age is lonely. *Stanza 4,5: “thy”: your-possesive
“soon” impermanent, transitory, momentary, short-lasting.
 Your gifts are too impermanent.
 Futility of joy and beauty - Your material things. -
“no means”: meaningless, worthless
 Her rejection and scorn to momentary pleasures at present.
 Giọng điệu mỉa mai vs lập luận thực tế thì cô đã cho a chàng si tình thấy dc lời hứa
viển vong và những tặng vật phù phiêm của a sẽ chóng phai tàn và quên lãng bới thời gian. *Stanza 6:
“But could youth last and love still breed,
Had joys no date nor age no need,
Then these delights my mind might move
To live with thee and be thy love.” - Back to subjunctive -
3 desires: ever-lasting youth, eternal love, and endless joy ( nhưng chúng unreal) -
Reconfirm her doubt and rejection ( subjunctive and might) -
She is a very practical pesron in her logical argument. -
The nymph: practical, reasoning, logical. -
Is her hypothetical world something she longs for in reality? -
Cô đưa cho a hi vọng mong manh trog câu hypo, cô k tin vào hiện tại, vào tình yêu bất tử. - - BÀI 3: SONNET 18 -
Wiliam Shakepear được coi là một nhà văn vĩ đại nhất của Anh quốc và là nhà viết kịch
đi trước mọi thời đại Ông được vinh danh là nhà thơ tiêu biểu của nước Anh và là thi sĩ
của dòng sông Avon. Avon là tên của dòng sông nơi ông sinh ra. Những tác phảm của
ông bao gồm 38 vở kịch các loại và 154 bài sonnets, 5 bảng thơ tường thuật dài và 1 số
bài thơ ngắn. Đặc biệt những vở kịch của ông đã được dịch ra rất nhiều ngôn ngữ và được
trình diễn nhiều hơn bất cứ nhà viết kịch nào, cống hiến của SP in đậm dấu lên kịch nghệ
và văn chương của các thế hệ nhà văn sau. Ví dụ như ô đã phát triển kịch nghệ cả về xây
dựng nhân vật và cốt truyện, ngôn ngữ và thể loại. Ngày nay ở thị trấn Stratford quê
hương của ô người ta thành lập công ty kịch nghệ SP hoàng gia và căn nhà nơi ô sông từ
thuở thơ ấu giờ đây đã trở thành viện bảo tàng SP như để kỷ niệm cuộc đời và sự nghiệp
của nhà viết kịch vĩ đại này. -
SP là 1 nhà văn có ảnh hưởng nhất mọi thời đại vì đưa đã đưa thể thơ Iambic pentrameter
vào kịch. Văn phong linh hoạt, sự tinh tế trong sử dụng ngôn từ và mang đậm tính nhân văn sâu sắc. *SHAKRPEAREAN SONNETS -
154 “sugar-sonnets” (sweet in tone and feeling) are perfect in form, deep in thought and feeling. -
Form: English sonnet (Shakepearean sonnet) -
Structure: three quatrains and a rhyming couplet - Meter: Iambic pentrameter. -
Rhyme scheme: abab cdcd efef gg - Themes:
+Most of sonnets(1-126) are addressed to a “fair youth” (handsome, self-center universal
mind), with whom SP had an intense romantic relationship. 126 bài thơ đầu danh tặng
cho 1 “fair youth” có biệt danh là W.H là 1 chàng trai trẻ, đẹp trai, kiêu hãnh và rất nổi
tiếng mà nhà thơ rất mực yêu chiều và vì lý do đó mà SP bị hoài nghi là 1 người đồng
tính. Thực sự danh tính của chàng trai này vẫn là 1 bí ẩn của SP. Tuy nhiên tất cả các nhà
sử học đều hướng nhân vật này vào William Hurbos.
+ Other 26 sonnets celebrate the beauty of the poet’s mistress known as the “dark lady”
(she and SP are in a sexual relationship.)
+ Some other sonnets focus on the passage of time, infidelity, jealously and mortality.
 Trong 26 bài sonnet tiếp theo Spca tụng vẻ đẹp của 1 quý bà có biệt danh là “dark lady”
vì cô có 1 maist tóc đen huyền và 1 làn da nâu quyến rủ và nhà thơ có 1 mối quan hệ tình
ái. Những bài sonnet cuối đời của nhà thơ viết về chủ đề thời gian, tình yêu, sự phản bội,
lòng đố kị, vẻ đẹp và cái chết. *Phân tích sonnet 18
- Most famous in the sequence of SP’s sonnets and maybe the most famous lyric poem in
English mainly due to the opening line which very romantic every romantic note. Ai cũng biết
bài thơ này nằm trong chuỗi 126 bài thơ đầu ô dành tặng cho 1 chàng trai trẻ có biệt danh là WH. 1. Quatrain 1:
- Opening with a rhetorical question (to compare his beloved with a summer day). However this
comparison is not straightforwarduncertainty. -
Dòng 1: thee = a summer day: equal comparison -
Dòng 2: thee > a summer day (more): comparative comparison hism love more lovely,  more temperate. -
“temperate”: mild temperature (climate) – gentle- natured, controlled (person) -
“too short”: a too short existence of a summer’s day. A summer day is fadimg with the passing of the season.
 Câu hỏi tu từ mở đầu cho khổ thơ đầu tiên SP muốn so sánh chàng trai trẻ với một ngày
hè. Tuy nhiên, sự so sánh nay thể hiện sự do dự của nhà thơ ở việc nhà thơ thay đổi đột
ngột cấu trúc so sánh từ dòng 1 sang dòng 2 vs cấu trúc ss bằng qua ss hơn. Mùa hè ở
nước Anh chỉ là những chuỗi ngày ngắn ngủi lướt qua với những cơn gió khô khốc thế
nên không thể nào so sánh mùa hè vs vẻ dịu dàng, khiêm nhường của em. 2. Quatrain 2:
- Lists reasons why the summer day cannot be compared with his beloved.
- Personification: “the eye of heaven” the sun 
“his gold complexion” the sunshine 
 The sparkling sunshine is not constant but will be dimmed by the clouds or at sunset. -
“too hot” ironic tone again -
Declines: every beauty will soon lose, fade away its initial attractiveness or decoration by time. -
 Ở khổ thơ thứ 2 sự tàn phai trong dung nhan của ánh nắng màu hè có thể ví vs sự thay
đổi của 1 đời người, ánh nắng non trẻ của buổi bình minh chính là tuổi thanh xuân rực rỡ.
Bóng ngắn gay gắt giữa ngày ẩn dụ cho sự đứng bóng của tuổi trung niên. Hoàng hôn che
khuất ánh mặt trời chính là lúc con người bước vào xế chiều . Câu thơ “And… untimed”
chính là quy luật của cuộc sống, vẻ đẹp nào cũng tàn phai bới thời gian. 3. Quatrain 3:
- “but” a constrast, a shift.
- metaphor “thy eternal summer”  your eternal beauty
- shall not – nor :reptition of negative structure imply his asertion the young man is not like the
summer day or the sun because his beauty is eternal, exception
- “when… growest” “the eternal summer” in these “eternal lines”
- “eternal lines” this beauty will be more broadly-known over time by more readers as it has been carved in this sonnet.
 Khổ 3 được xem là bước chuyển trong bố cục của bài thơ. Ở đây nhà thơ khẳng định thần
tượng của mình không thể so sánh vs 1 ngày hè ngắn ngủi dc vì vẻ đẹp của người nhà thơ yêu đã
được khắc họa trong những dòng thơ bất hữu này nên vẻ đẹp này sẽ dc sống mãi bất chấp thời
gian và coi thường cả cái chết.
Chú ý biện pháp metaphor trong “thy eternal summer” và sự lặp lại từ eternal trong “eternal
lines” để thấy dc sự tương quan mật thiết giữa thơ ca và vẻ đẹp của von người. 4, The couplet -
“so long” repetion, “this” -
Reconfirm: this eternal poem will immortalize his lover’s youth and beauty. -
Hai dòng thơ kết điệp âm được chú ý bởi cấu trúc đảo ngữ và sự lặp lại so long và this 1
lần nữa nhấn mạnh niềm tin và khát vọng của nhà thơ rằng bài thơ này sẽ khắc họa hình
bóng của em mãi mãi và chừng nào nhân gian còn đọc bài thơ này thì vẻ đẹp và tuổi
thnah xuân của em vẫn được người đười ca tụng. -
Trog lịch sử thơ ca không chỉ có SP thành công trong việc khắc họa vẻ đẹp của con người
vào thơ ca mà rất nhiều thi sĩ khác trong đó có thi sĩ VN đã khiến vẻ đẹp của những nàng
thơ sống mãi vs thời gian, Ví dụ Thúy kiều, thúy vân hoặc mưa thnags 6 của Nguyên Sa. *THEMES
- Human beauty can be immortalized in poetry.
*TONE AND MOOD: Sincere and loving BÀI 4: SONNET 29
https://owlcation.com/humanities/Analysis-of-Sonnet-29-by-William-Shakespeare
https://www.litcharts.com/poetry/william-shakespeare/sonnet-29-when-in-disgrace-
with-fortune-and-men-s-eyes -
"Sonnet 29" is a poem written by the English poet and playwright William Shakespeare.
It was most likely written in the 1590s, though it was not published until 1609. Like
many of Shakespeare's sonnets, "Sonnet 29" is a love poem. It is also traditionally
believed to have been written for a young man. Unlike some of Shakespeare's other love
poems, however, which are concerned with physical beauty and erotic desire, "Sonnet
29" is about the power of love to positively affect one's mindset, as the poem argues that
love offers compensation for the injuries and setbacks one endures in life. -
The poem expressed the speaker’s depression. He despairs over his state, his fate, and his
difference from other luckier men. But the second half of the poem become brighter
when the power of love to positively affect one's mindset. As also the poem argues that
love offers compensation for the injuries and setbacks one endures in life.
Tóm tắt nội dung William Shakespeare’s “Sonnet 29”
All the emotions/ moods that the speaker experiences, in the order as they appear in the poem
- 1st stanza: - depression/ hopelessness; anxiety/ self -pity
- 2nd stanza: - jealousy/ envy; dissatisfaction/ despondency
- 3rd stanza: - hopeful; optimistic; elation; happiness
- 4th stanza: - satisfied; contented; happy; self-confident Emotive structure of the poem: 1st stanza: negative 2nd stanza: negative
3rd stanza: (all of a sudden) positive 4th stanza: positive Robert Green
He was basically Shakespeare’s contemporary, he was many years superior. By the time that
Shakespeare started as a playwright and andromeda and tried to build his career in London.
Robert Green was already an established and prolific acclaimed author. However he hated
Shakespeare, he despised Shakespeare, he spread rumors about Shakespeare, he was
determined in bringing Shakespeare down in spreading hate towards. Bubonic plague
During the rants of Queen Elizabeth, England experienced many episodes of the bubonic
plague. It was on and off for many years and it took many lives and specifically during the time
that Shakespeare wrote this poem there was an outbreak in London, the situation was really bad. Redemption
The poem is not just about disappointment or despair. This is the poem about the way that
love comfort suits and repairs the many injuries that one endures in life. He feels disgrace
opening lies and then these images show not only that he was spiritually improved but also that
he’s saved by love. Redemption means to be saved/relieved from sins/ sufferings Religion 1st stanza:
attitude of God/ religion: disappointed, skeptical. He was disappointed in God and religion but
he was also skeptical because he cried in heaven but he didn’t hear any response, he didn’t get any reply 3rd stanza:
love/ the lover replacing/ functioning as religion/ god/
Love of the lover becomes that authority that the speaker appealed to that he called out to
that he prayed to for his redemption
The lover here replace god and religion functions as the religion of God to the speaker Literary devices comparison: like – stanza 3
personification: deaf heaven – stanza 1
Synecdoche: Men' eyes – stanza 1 – people
Opposite: with what I most enjoy contented least paragraph 2
1. What is meant by the metaphors of the waning moon and the ebbing tides? Trả lời câu hỏi 1:
The Moon goes through predictable phases on a monthly basis, which makes it possible to
calculate what phase the moon will be in on any particular day in the future.
When the tide rises and when the tide goes out is as predictable as the phases the moon goes
through every month. This imagery creates a metaphor for the means by which love plays out.
Although it does not correspond to any man-made timeline, that it will go through phases like
the moon in the long-term and that the intensity of the passion will ebb and flow in the short term are utterly predictable.
The fading of love is as natural as day fading into night; as growing things dying with the
seasons; as "the waning of the moon" and "the ebbing tide" retreating fro the shore.
2. What is the messenger behind Sonnet 29?
The messenger behind Sonnet 29 is a lesson about how we deal with failures, sickness and
obstacles in life. The love gives us no longer alone. If we have hope, there will be light at
the end of the road for us to go.
Self-Pity, Isolation, and Despair
"Sonnet 29" is, in part, a poem about isolation, envy, and despair. In the first eight lines, the
speaker lists a series of anxieties and injuries, comparing himself negatively to more prosperous,
successful, and beautiful people. The speaker thus suggests that his sense of self-worth depends
on others: his social status and his emotional life are inextricably braided together, a combination
the poem argues breeds only further isolation and discontent.
The poem begins with the speaker listing a series of misfortunes he has suffered. He describes
himself as “disgrace[d]” and an “outcast,” and implies that he is hopeless, untalented, and ugly;
that he lacks political influence; and that he no longer takes pleasure in the things he once
enjoyed. It might seem, then, that the poem is responding to some catastrophe—say, a
bankruptcy or a death in the family. But the speaker opens the poem with the word “when,” a
conditional structure that frames the rest of the list of misfortunes the speaker supplies. He is not
responding to a specific event but, instead, reflecting on something that happens to him often. This suggests that he
suffers from despair and anxiety; he often feels like an outcast and often a hack.
Importantly, each of his complaints places the speaker in relation to other people. He compares
his own beauty, wealth, and status to those around him—noting his “disgrace” in “men’s eyes,”
wishing he were “featured [attractive] like him,” and envious of “this man’s art and that man’s
scope.” The speaker clearly measures his own self-worth in relation to others. Given that he is so
frequently despondent, the poem thus implicitly suggests that comparison is an unwise endeavor
that results primarily in self-pity.
This self-pity, in turn, only serves to further separate the speaker from the rest of society; indeed,
he bemoans how he “all alone” cries about his “outcast state” and resents those “with friends
possessed.” Perhaps this is understandable; it’s difficult to deeply bond with people when
relationships are plagued by envy and resentment. He also describes his relationship with other
people in competitive terms: he does not want to share or collaborate with others, but instead
wants to have more power, money, and influence than them.
The first eight lines of the poem thus pose an implicit question as to whether there are values that
do not rely on hierarchy and competition to validate and assign worth. Regardless of the answer,
it’s clear that defining oneself solely in relation to others does little to boost contentedness, confidence, or camaraderie. Love and Wealth
"Sonnet 29" is not just a poem about disappointment and despair: it’s a poem about the way that
love comforts, soothes, and repairs the many injuries that one endures in life. After the poem’s
bitter opening eight lines, the speaker reflects on the love he shares with his beloved
(traditionally believed to be a young man). That love, he argues, offers compensation for all his
insults, slights, and misfortunes. In this way, the poem contrasts love with wealth and status.
Love stands outside those pursuits, and, with its intense pleasures and rewards, offers an alternate path to happiness.
When the speaker experiences the despair and self-doubt he describes in the poem’s first eight
lines, he thinks about the man he loves and his mood transforms. Thinking about the young man,
he experiences something close to ecstasy: he compares his mood to an exalted, almost religious
music that breaks free of the “sullen earth” and rises to heaven itself. The speaker’s love for the
young man radically improves his mood and his self-esteem. Love, here, not only improves the
speaker’s general well-being, but also offers a kind of compensation for the misfortunes he has
suffered. He may not have the wealth or political standing he covets, but his love offers him a different form of riches.
The speaker’s frequent use of economic and political terms reinforces the idea of love itself as a
form of wealth. He notably describes himself as “in disgrace with fortune,” envies those “rich in
hope,” and desires “that man’s scope” (that is, his power, influence, or skill). Though not directly
describing money in these instances, this use of language nonetheless suggests that an economic
and political preoccupation that runs throughout the poem.
Furthermore, in the poem’s closing couplet, the speaker directly describes the young man’s love
as a kind of “wealth”—a wealth which is so satisfying that he wouldn’t give it up for anything,
even to be king of England. The line echoes a complaint from earlier in the poem, “Wishing me
like to one more rich in hope.” Though the speaker uses the word “rich” metaphorically in the
earlier line, the resonance between “rich” and “wealth” suggests that he is drawing a strong
contrast between the kind of wealth that love provides and money itself.
One might interpret this in several ways. On the one hand, the poem could be presenting love as
something apolitical, divorced from the consequential decisions that shape the life of a state or a
community. On the other, the poem might suggest that love stands as an alternative to the values
that motivate people in politics and business (i.e., desire for money and power). Perhaps that
alternative serves to critique the limitations of those values, suggesting another system of values
altogether—which does not breed despair and anxiety.  Lines 1-4
The poem opens with the word "When," and a quick survey of the poem reveals that sentence
doesn't end for a long time—indeed, the only period in the poem comes at the end of line 14. The
poem is an extended, single sentence, which can be divided in two: a conditional clause and a
main clause. The conditional clause lists a series of circumstances and the main clause then
explains what happens in those circumstances. The word "When" in the first line of the poem
introduces the conditional clause, and the next four lines reveal what that "when" consists of. In
other words, these four lines describe a situation: a situation of considerable despair and
despondency for the speaker of the poem.
The speaker begins by declaring that he is doubly in disgrace—both fortune and other people
have turned against him. The speaker uses
to bring those other people (and their synecdoche
judgment) into the poem. When he mentions "men's eyes" in line one, he doesn't mean (or
doesn't only mean) that people are looking at him askance: the eyes stand in for the fact that
people are judging him. Just as the eyes imply that there is some intelligence, some agency,
making active decisions about his character and worth, so too the phrase "in disgrace with
fortune" suggests that fortune itself is making judgments about him—that fortune has its own
intelligence and agency, and thus has its own capacity to affect the speaker's life.
The next 3 lines of the poem register these effects on the speaker's life: he is "alone" and he is an
"outcast." He weeps over his condition, and he prays to heaven for relief. But his prayers are
"bootless"—that is, useless. They fail to improve his lot, and so he looks at himself and curses
the circumstances that brought him to this point.
The lines are highly charged with emotion—when this speaker is not weeping, he is crying out to
heaven or cursing his fate. Indeed, they may even be melodramatic. Immediately, then, the
reader faces a major interpretative issue: whether to take the speaker seriously. If the reader does,
the eventual resolution of the poem is a powerful testament to love's capacity to assuage the
wounds of the world. If the reader doesn't, however, the poem becomes melodramatic and unconvincing. Nguồn khác
Sonnet 29 shows the poet at his most insecure and troubled. He feels unlucky, shamed,
and fiercely jealous of those around him. What causes the poet's anguish will remain a
mystery; as will the answer to whether the sonnets are autobiographical.
However, an examination of Shakespeare's life around the time he wrote Sonnet 29
reveals two traumatic events that may have shaped the theme of the sonnet. In 1592 the
London theatres closed due to a severe outbreak of plague. Although it is possible that
Shakespeare toured the outlying areas of London, it is almost certain that he left the
theatre entirely during this time to work on his sonnets and narrative poems. The closing
of the playhouses made it hard for Shakespeare and other actors of the day to earn a
living. With plague and poverty looming it is expected that he would feel "in disgrace with fortune" (1).
Moreover, in 1592 there came a scathing attack on Shakespeare by dramatist Robert
Greene, who, in a deathbed diary (A Groats-worth of W ), warned three of his fellow it
university-educated playwrights: "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 blanke verse as the best of you; and, beeing an absolute Johannes factotum, is in his
owne conceit the only Shakescene in a countrey."
One can only imagine what grief this assault – this deathbed assault – must have caused
Shakespeare. Greene was nothing if not thorough: first, using a line from Shakespeare's
own 3 Henry (1.4.138), he describes Shakespeare as a pompous, scheming, vicious VI
ingrate, riding the coattails of better writers (no doubt Shakespeare performed in a play
Greene had himself written; then he adds that Shakespeare was a conceited ("only
Shakescene") and insignificant jack of all trades (a "Johannes factotum").
Greene lets even more insults fly as he continues: "O that I might intreat your rare wits to
be imploied in more profitable courses: & let those Apes imitate your past excellence,
and never more acquaint them with your admired inventions, for it is pity men of such
rare wits should be subject to the pleasures of such rude groomes." 1
It seems very possible such events are connected to the poet's distressed declaration in
line 8: "With what I most enjoy contented least."
All is not lost, however, for the sonnet ends with a positive affirmation that the poet can
combat his anguish with the "sweet love" (13) of his dear friend. Phân tích theo ppt:
When, in disgrace with fortune and men’s eyes,
I all alone beweep my outcast state,
And trouble deaf heaven with my bootless cries,
And look upon myself and curse my fate,”
The literary device is used for the word “men’s eyes” and “deaf heaven” to see that:
 Synecdoche with the word “men’s eyes”: means that he feels disgraced.
=> Full of self-accusation and inner turmoil.
 Metonymy with the word “deaf heaven” means that heaven hears not his bootless cries.
=> His wail receive no reply from Heaven, he is wallowing in self-pity and despair. -
“in disgrace with fortune and men’s eyes” : Insecure , troubled , jealous -
“ outcast state “:The feeling of uselessness, outcasting, and disgrace
“deaf heaven” (quatrain 1 - verse 3)
 refers to “God”.
The speaker never says God’s name: + he’s angry.
+ he supposes that God let him down, his cries and his prayers to God are useless (“bootless”)
he feels bitter and isolated from God
“Wishing me like to one more rich in hope,
Featured like him, like him with friends possessed,
Desiring this man’s art and that man’s scope,
With what I most enjoy contented least;”
With what I most enjoy contented least”