Учебное пособие 4 unit I. The renaissance 1485-1649

Sonnet 24
Mine eye hath play’d the painter; and hath, stell’d
Thy beauty’s form in table of my heart;
My body is the frame wherein’tis held,
And perspective it is best painter’s art.
For through the painter must you see his skill
To find where your true image pictured lies,
Which in my bosom’s shop is hanging still
That hath his windows glazed with thine eyes.
Now see what good turns eyes for eyes have done:
Mine eyes have drawn thy shape, and thine for me
Are windows to my breast, where-through the sun
Delights’to peep, to gaze therein on thee:
Yet eyes this cunning want to grace their art,
They draw but what they see, know not the heart.
The form is very complicated. The idea of the sonnet cannot be grasped at
once as in the two preceding sonnets. It is hidden behind the elaborate design
which is not so easily deciphered. Let us just state some of the points without
giving them proper stylistic treatment. There is however one thing that must
not be overlooked — the excess of the formal element which is embodied in
the intricate design. The poet’s idea may be interpreted in the following
manner: such tricky modes of expression can appear only when-the heart is
asleep. The words of the sonnet ‘play’d’ (in the first line) and ‘know not the
heart’ (in the last line), show that such excessive use of the formal element in
the utterance can only be justified if and when there are no true feelings in
poets’ minds.
There is on more rather important point. The phrase ‘And perspective it is
best painter’s art’ seems to be significant. It can be interpreted as follows.
Though form should be always subordinate to content and though there
should always be this predominance of content over form, the latter should
by no means be underestimated.
Behind the intricate design of the sonnet, complicated and elaborate as ‘it
may seem’ to the reader is concealed the author’s scorn and disdain of such
intricacy. It is the deliberate character of the design that conveys this
information to the reader, stressing at the same time the waste of energy and
time that goes into the creation of similar literary works the seeming beauty
of which is less than skin deep.
The main stylistic device employed in the sonnet is that known as
sustained metaphor.
It consists of the principal metaphor (image) and

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contributory or associated images, the main image is the eye that is
represented as a painter.
The associated images are built through such metaphorical words as:
‘stell’d’, ‘form’, ‘table’ (a board or other flat surface on which a picture is
painted. Now obsolete), ‘frame’, ‘shop’, ‘to hang’ (of pictures), ‘to draw’,
‘shape’, ‘art’, ‘glaze’, ‘skill’ (of a painter), ‘pictured’ and other concepts
associated with the painter and his art.
It is of no use to subject each line to a scrupulous semantic analysis. It
will amount merely to a search for logical connections between the ideas
expressed. They are entangled in the intricate design of the sustained
metaphor and not clearly grasped.
And finally the following sonnet chosen for analysis.
Sonnet 66
1.Tired with all these, || for restful death I cry,
2.As, to behold desert || a beggar born,
3.And needy nothing || trimm’d in jollity,
4.And purest faith || unhappily “forsworn,
5.And gilded honour || shamefully misplaced,
6.And maiden virtue || rudely strumpeted,
7.And right perfection1 || wrongfully disgraced,
8.And strength || by limping sway disabled,
9.And art || made tonque-tied by authority,
10.And folly, doctor-like, || controlling skill,
11.And simple truth || miscalled simplicity,
12.And captive good || attending, captain ill:
13. Tired with all these, || from these would I be gone,
14. Save that to die, || I leave my love alone.
What strikes one’s eye at the first glance is the wholeness of the
compositional structure of the sonnet. No division into octave and sestette.
No pauses indicating any break in the narrative. One has the impression that
the whole of the sonnet is but one utterance, without any intervals, in one
gasp of indignation and disgust. But still so strong is the brand of the form,