VARIETY AND EMPHASIS IN SHAKESPEARE’S SONNET 19
Shakespeare’s “sonnet 19” shows how a small number of deviations in a sonnet that is otherwise organised and regular, keep it lively and can subtly put emphasis on the contents. This can be seen in things such as inversion and other changes in stress distribution, the syllabic arrangement, and rhythmic qualities that differ from the overall rhythm.
Two deviations from the metrical norm in “Sonnet 19” occur as inversions and pyrrhic feet. The inversions are roughly evenly spaced in lines 3, 7, and 11, they add some liveliness to the sonnet without attracting an unnecessary amount of attention by relieving the strict pattern of an unstressed syllable at the beginning of each line. Because this rigidity is strengthened by the fact that all lines but one ,line 13, are endstopped, the effect of the inversions is enhanced by this feature. Another means of releasing the poem from its potential stiffness is the occasional usage of pyrrhic feet, these occur in lines 3, “from the”, 4, “phoenix in”, 5, “seasons as”, 9, “with thy”, and 12, “pattern to”, they form a change from the iambic arrangement that is both subtle and effective. Moreover they put additional stress on the following foot because of the pause in the rhythm.
A third example of a change in the metrical arrangement that is more obvious are the alexandrines in lines 9 and 10. They provide a break in the flow of the meter giving variety that brings the poem to life. In addition, a strong emphasis lies on the lines because of their clear distinction from the syllabic arrangement of the rest of the poem.
As for deviations in the rhythmical qualities that are not purely metrical, “Sonnet 19” consists almost completely of endstopped lines, line 13 is the only exception, when the small amount of caesuras, lines 1, 6, 13 (twice), and 14, are then taken into account it becomes clear that the poem has a very constant rhythm and that any changes in that rhythm are significant for the entirety of the poem. The first caesura does not break a pattern since a pattern has not truly been set at that time, it serves to properly stress the object that is apostrophised, the caesura in line 6 serves the same purpose. The last two lines of the poem bring a sudden departure from the regular lay-out observed throughout the sonnet and three caesuras can be found as well as the only line that is not endstopped, this has certain rhythmical consequences. For one, line 13 appears to be a long one since it has two caesuras, this apparent length brings it to the foreground, furthermore, the caesuras do not draw attention to the apostrophe, but rather to the information surrounding it. Secondly, line 13 runs on in line 14 pointing towards an intimate relation between the two. The two lines read as though they were one, a distinct deviation from the previous lines. This makes the lines ‘jump out’ as it were, when read, since their meaning is not only semantically and metrically bounded but the rhythmical interlacing is also more profound. Finally, the last caesura sets the last three words apart from the rest of the line, creating an effective and clear ending.
Generally speaking Shakespeare’s “Sonnet 19” obeys the rules for the sonnet strictly. It must be said, though, that a few differences do exist, the most striking are the alexandrines, more subtle are the inversions and pyrrhic feet. Its rhythmical qualities are rigidly set giving any deviations particular efficient effects pertaining to emphasis. Briefly speaking, departures from the rules in “Sonnet 19”, however few and subtle, are what turn it into a lively and varied poem.
22 Feb. 00
