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Helen Vendler, Sonnet 60 Helen Vendler thinks that Sonnet 60 is a perfect example of the 4 - 4 - 4 - 2 Shakespearean sonnet form. In her critique of Sonnet 60 Helen Vendler noted that each quatrain of this sonnet had a new modification in concept and tone while the couplet-here a reversing couplet contradicting the body of the sonnet-adds yet a fourth dimension. Time[-s] is one member of the Couplet Tie and the word stand[-s] is the other. Helen Vendler paid her attention to the word stand, its role in the Sonnet and the philosophical meaning this word gains: Stand is the one thing the three quatrain models-waves, light / life , and the vegetation of the earth-cannot do: waves hasten to their end, light / life is undone by crooked eclipses, and vegetation is scythed down. Stand is something immaterial, I think. It is immortal and less perceived than the three quatrains.
The three quatrains offer three ways of understanding what live is like. The first quatrain, Q 1, is associated by Vendler with ritual and with repetitive narrative. It suggests the idea that every segment in life is temporal, equal. Each minute knows its place in the substance of time and its destined toil. All this serve to set an order of a perpetual motion of life. The motion of our life is physical and predictable; our life is endless, the only things with change are partners and places.
The second quatrain Q 2, represents the tragedy: the fall of princes. His rise and fall are dynamically depicted by the paradigm: crawls / crowned /crooked / confound . Vendler finds the existential change in this model unnatural, ... involuntary, and destructive. I think this quatrain shows that there are no distinct boundaries between good and evil and it is possible that crowned may be immediately affronted by crooked.
In the third quatrain Q 3, time is an existential disaster. It attacks on youth, on nature. The valuable things which were shown in Q 1 and Q 2, became attacked by time. I think that here time is introduced in its progressive and revolutionary aspect: to destroy old in order to set new. A. C.
Bradley, Othello According to A. C. Bradley, Othello's tragedy is in his nature, which was open to deception. Bradley set aside mistaken point of view, that Othello was jealous by temperament.
But Bradley noted that Othello retained some savage passions of Moorish blood and the suspiciousness to females which was common among Oriental people. Othello did not accept customary morality of Venetian women. And that led to fatal misunderstanding between him and Desdemona. I think that the tragedy of Othello is the tragedy of romanticism in our world.
Bradley stated that Othello was not a cruel murderer, he was a descent man of royal siege whose open heart was offended. He does not belong to our world, and he seems to enter it we know not whence - almost as if from wonderland. Othello had a romantic nature and he believed in such love like in fairy tales. Thats why I think love was for him like an evidence of god-like and chaste nature. Iago and Desdemona as Bradley wrote were the persons of the same race and instinctively they understood each other better. They maybe had the same culture and they surely shared Venetian morality, which did not regard adultery seriously.
Iago and Desdemona would easily forbid and forget flirtation or even a short affair, but Othello never would. Bradley came to such conclusion that any man situated as Othello was would have been disturbed by Iago's communication. Bradley explained that first Othello wished vengeance after the supposed death of Casino. He entered the bedchamber with the words: It is the cause, it is the cause, my soul. Bradley called the deed Othello was bound to do no murder, but a sacrifice. He wanted to save Desdemona from herself, from the vicious customs she was a victim of.
Bradley added that the murder was not in hate but in honour; in honour, and also in love.
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Research essay sample on Helen Vendler Sonnet 60
