Physicality and Emotional Attachment in Shakespeares Sonnet 46 Essay

somaticity and Emotional hamper in Shakespeargons sonnet 46 In Sonnet 46 of his full treatment about the blond young man, William Shakespeare presents a unique view on the immaculate debate about physical lust versus emotional love. The poet struggles to decide if his feelings are ground upon superficial desire and infatuation, represented by the core (1), or line up love independent of the physical world, symbolized by the heart (1). With a proficient movement from violent imagery in the first two lines to the civilized wording of law, Shakespeare dismisses the honey oilly accepted view of a battle between the kernel and the heart. The diction of warfare denotes two very separate alien sides clashing in destructive confrontation. Shakespeare advances quickly away from such wording, setting his debate in the civilized context of a courtroom. While the parties engaged in a compositors case are competing, they are not seeking the destruction of their opposit ion. A viridity bond exists between the two sides of a legal case, the bond of society. They are split of the same whole, or they would not be bound by the laws of that whole. The same holds for the eye and the heart, as well as their metaphysical counterparts, lust and spiritual bonding. The eye and the heart are but organs that make up the body. Physical desire and emotional attraction are just aspects of the overlying concept of love. This is Shakespeares last point both physicality and emotional attachment combine to take shape the powerful force humans know as love. The opening quatrain of Sonnet 46 sets up the conflict of infatuation versus true love, acknowledging the classic view of a battle between opposing forces, but swiftly moving beyond such a black an... ...an iambic foot, As thus (13), allowing the triad quatrain to lean directly into couplet. The poet also repeats the rhyme of part (13) and heart (14) from lines 12 and 10 of the third quatrain, t ying the couplet even closer to the body of the poem. Shakespeare presents a common sense solution to the problem, declaring the entire conflict to be almost irrelevant. Lust is based on external aesthetic appeal, so the poet bestows the outward part (13) of the poems young object upon the eye. True love draws its strength from an internal bonding of spirits, and therefore Shakespeare plant the inward love (14) to the heart. And these two halves together form love. Work Cited Shakespeare, William. Sonnet 46. The Norton Anthology of English Literature. Eds. M. H. Abrams and Stephen Greenblatt. 7th ed. 2 vols. New York Norton, 2000. 1 1033. Physicality and Emotional Attachment in Shakespeares Sonnet 46 EssayPhysicality and Emotional Attachment in Shakespeares Sonnet 46 In Sonnet 46 of his works about the blond young man, William Shakespeare presents a unique view on the classic debate about physical lust versus emotional love. The poet struggles to d ecide if his feelings are based upon superficial desire and infatuation, represented by the eye (1), or true love independent of the physical world, symbolized by the heart (1). With a deft movement from violent imagery in the first two lines to the civilized language of law, Shakespeare dismisses the commonly accepted view of a battle between the eye and the heart. The diction of warfare denotes two very separate alien sides clashing in destructive confrontation. Shakespeare advances quickly away from such wording, setting his debate in the civilized context of a courtroom. While the parties engaged in a lawsuit are competing, they are not seeking the destruction of their opposition. A common bond exists between the two sides of a legal case, the bond of society. They are parts of the same whole, or they would not be bound by the laws of that whole. The same holds for the eye and the heart, as well as their metaphysical counterparts, lust and spiritual bonding. The eye and the heart are but organs that make up the body. Physical desire and emotional attraction are just aspects of the overlying concept of love. This is Shakespeares final point both physicality and emotional attachment combine to form the powerful force humans know as love. The opening quatrain of Sonnet 46 sets up the conflict of infatuation versus true love, acknowledging the classic view of a battle between opposing forces, but swiftly moving beyond such a black an... ...an iambic foot, As thus (13), allowing the third quatrain to flow directly into couplet. The poet also repeats the rhyme of part (13) and heart (14) from lines 12 and 10 of the third quatrain, tying the couplet even closer to the body of the poem. Shakespeare presents a common sense solution to the problem, declaring the entire conflict to be almost irrelevant. Lust is based on external aesthetic appeal, so the poet bestows the outward part (13) of the poems young object upon the eye. True love dra ws its strength from an internal bonding of spirits, and therefore Shakespeare deeds the inward love (14) to the heart. And these two halves together form love. Work Cited Shakespeare, William. Sonnet 46. The Norton Anthology of English Literature. Eds. M. H. Abrams and Stephen Greenblatt. 7th ed. 2 vols. New York Norton, 2000. 1 1033.