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Volume 3: A blow of destiny, the king appears Chapter 79: The sonnet opened his heart

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    In 1609, Shakespeare published "Sonnets," his last published non-dramatic work.  Scholars are unable to determine when each of the 154 sonnets was written, but there is evidence that Shakespeare wrote these sonnets for a private audience throughout his career.

    Earlier, two unauthorized sonnets appeared in The Passionate Pilgrim, published in 1599.  The English writer Francis Mills wrote in 1598 of sweet sonnets circulating among close friends.

    A few analysts believe that the published collection follows Shakespeare's intentional order.  It seems he planned two opposing series: one about the uncontrollable lust of a dark-skinned married woman; the other about the pure love of a fair-skinned young man.

    It is still unclear whether these characters represent real people, or whether the I in the poem represents Shakespeare himself, although the English poet William Wordsworth believed that Shakespeare opened his heart in these sonnets.

    The 1609 edition is dedicated to a Mr. wh, with a dedication naming him as the sole instigator of these poems.  It remains a mystery whether Shakespeare himself wrote the dedication or whether it was added by publisher Thomas Thorpe, whose initials appear at the end of the dedication page.

    Despite extensive academic research, it is still unknown who Mr. wh was, and it is not even clear whether Shakespeare authorized the publication of the book.  Critics have praised the Sonnets as a profound meditation on love, sexuality, reproduction, death and the sexuality of time.

    Shakespeare¡¯s earliest plays were written in the style common at the time.  He uses standard language to write, which often cannot be released naturally according to the needs of the character and plot.

    Poems are extended, sometimes contain elaborate metaphors and clever ideas, and the language is often ornate, suitable for actors to read aloud rather than speak.

    Some critics believe that the solemn speech in "Titus Andronicus".  Often hinders the plot; the dialogue in "The Two Gentlemen of Verona" was criticized as artificial and unnatural.

    Soon Shakespeare moved away from traditional style to his own characteristics.  The opening soliloquy of Richard III pioneered the role of evil in medieval drama.  At the same time, Richard's vivid self-aware soliloquies continue into the soliloquies of Shakespeare's mature plays.

    No single play marks the transition from traditional to free style; Shakespeare combined both styles throughout his writing career, and Romeo and Juliet may be the best example of this hybrid style.

    By the mid-1590s, when he was writing "Romeo and Juliet," "Richard II" and "A Midsummer Night's Dream," Shakespeare began to write in more natural words.  He gradually turns his metaphors and symbols to the needs of the plot.

    Shakespeare¡¯s usual poetic form is blank verse, combined with iambic pentameter.  In practice, this means that his poems are often unrhymed, with each line having 10 syllables, with emphasis on every second syllable when read aloud.

    There is a big difference between the blank verse of his early works and his later works.  The verses are often beautiful.  But sentences tend to start, pause, and end at the end of the line, which can lead to boring sentences.

    When Shakespeare mastered traditional blank verse, he began to interrupt and change the pattern.  This technique unleashed new power and flexibility in the poetry of plays such as "Julius Caesar" and "Hamlet."  For example, in Act 2 of Scene 5 of "Hamlet", Shakespeare uses it to show the confusion of Hamlet's thinking:

    "Sir. That night, I couldn't sleep because of the doubts in my chest. I was even more miserable than the shackled rebellious sailor. At that time, I was impulsive. Fortunately, I had that momentary thought, because sometimes we inadvertently  Everything you do can be perfect.¡±

    After "Hamlet", Shakespeare's style changed more, especially the more emotional passages in later tragedies.  The British critic Andrew Cecil Bradley described the style as tighter, crisper and more varied.  And they are relatively irregular in structure, often intricate or omitted.

    Later in his career, Shakespeare used a number of techniques to achieve these effects, including cross-line continuation, irregular pauses and endings, and extreme variations in sentence structure and length.

    In "Macbeth".  The language switches from one unrelated metaphor or simile to another, as in Scene 1, Scene 7:

    ¡°Is the hope you immersed yourself in just a drunken delusion?

    "Compassion is like a naked baby floating in the strong wind, and like a heavenly baby that controls the air."

    It is a challenge for the audience to fully understand the meaning.  Later legendary drama.  The plot changes timely and unexpectedly, creating a poetic style of the final period.  It is characterized by the synthesis of long and short sentences, the arrangement of clauses together, the inversion of subjects and objects, and the omission of words.??Produces a natural effect.

    The characteristics of Shakespeare¡¯s poetry are related to the actual effect of the theater.  Like all playwrights of the era, Shakespeare dramatized stories written by Francesco Petrarch and Raphael Holinshed, among others.

    He adapted each plot to create several centers of attention while showing the audience as many pieces of the story as possible.  Features of the design ensure that Shakespeare's plays can be translated into other languages, tailored, and interpreted loosely without losing the core plot.

    As Shakespeare's skills improved, he gave his characters clearer and more varied motivations and a unique style of speaking.  However, in his later works he retained the characteristics of his earlier style.  In the later romances, he deliberately returned to a more artificial style that emphasized theatrical effect.

    Shakespeare's works had a lasting impact on later drama and scholarship.  In fact, he expanded the aspects of drama characterization, plot narration, language expression and genre.  For example, until Romeo and Juliet, romance plays had not been considered a worthy subject for tragedy.

    In the past, monologues were mainly used to switch information between characters or scenes, but Shakespeare used them to explore the characters' thoughts.  His work had a great influence on later poetry.  Romantic poets attempted to revive Shakespeare's verse dramas, but with little success.

    Critic George Steiner considered all English verse dramas from Coleridge to Tennyson to be minor variations on the themes of Shakespeare's works.

    Shakespeare also influenced novelists such as Thomas Hardy, William Faulkner and Charles Dickens.  There are 25 works of Dickens that quote Shakespeare.

    American novelist Herman Melville owes a lot to Shakespeare for his monologues: Captain Ahab in his book "Moby-Dick" is a classic tragic hero, containing the shadow of King Lear.

    Scholars have identified 20,000 pieces of music related to Shakespeare's works.  These include two operas by Giuseppe Verdi, Otello and Falstaff, both of which compare favorably with the original works.

    Shakespeare also influenced many painters, including the Romantics and the Pre-Raphaelites.  William Blake's friend, the Swiss Romantic artist Johann Henrich Fisli, even translated "Macbeth" into German.

    Psychoanalyst Sigmund Freud cited psychoanalysis of Shakespeare's works, especially Hamlet, in his theory of human nature.

    During Shakespeare¡¯s time, English grammar and spelling were not as standardized as they are now, and his use of language influenced modern English.  Samuel Jensen quoted Shakespeare more than any other writer in Jensen's Dictionary, the first monograph in the field.

    Phrases such as d breath (meaning to hold one's breath, from "The Merchant of Venice") and (meaning the expected ending, from "Othello") are now used in everyday English.
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