It is of course impossible to increase abundance with loss, and equally impossible to increase loss by adding abundance to it.' Atkins is also in agreement that sonnet 64 especially in line 12, the speaker expresses a state of fear: That Time will come and take my love away. Vendler argues that in this line 'Loss wins in both cases. The speaker's horror is manifested in the line, Increasing store with loss, and loss with store. In Helen Vendler's, The Art of Shakespeare's Sonnets, Vendler describes Sonnet 64 to be written in a state of horror and 'unprotected vulnerability'. Sonnet 64 is very similar to Shakespeare's Sonnet 60 where both sonnets focus on a central idolizing of 'time as the destroyer'. He argues that these sonnets should be grouped together because they are the only ones to refer to the subject of the poem in the third person rather than second person. He places Sonnet 64 in a sonnet group containing only Sonnets 63вЂ“68. However, another critic, Brents Stirling, disagrees. Baldwin and Emily Stockard agree that these sonnets are similar in subject and tone. Most critics place Sonnet 64 in a chronological sequence or group with Sonnets 62вЂ“74. However, Sonnet 64 does not specify whether Shakespeare is more upset over the loss of life or the loss of love. In this way, Shakespeare is able to feel better about himself, because the love of his life was taken from him involuntarily.

On the contrary, his lover could not do anything about it. Because of the inevitability and finality of death, Shakespeare's lover is not choosing to leave him. Sonnet 64 catalogues instances of inevitable destruction so as to provide a consolation for death and places 'emphasis on the inescapable fact of mutability'. He also presents the idea of the revolution of sea and land, although not many other critics agree. Baldwin explains that Sonnet 64 deals with Shakespeare's struggle against time, which he 'cannot withstand'. The meter demands a few variant pronunciations: The third line's 'towers' functions as one syllable, and the seventh line's 'watery' as two. This creates a somewhat unusual case in which three stressed syllables in a row function as three ictuses, rather than one of them being demoted (as typically happens) to a nonictus.ДЄnd the firm soil win of the watery main, (64.7) The seventh line has both the first ictus moved to the right (resulting in a four-position figure, Г—В Г—В /В /, sometimes referred to as a minor ionic), and a mid-line reversal. = ictus, a metrically strong syllabic position.

The fourth line exemplifies a regular iambic pentameter:ДЄnd brass eternal slave to mortal rage (64.4) It follows the typical rhyme scheme of the form, abab cdcd efef gg and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The English sonnet has three quatrains, followed by a final rhyming couplet. Sonnet 64 is an English or Shakespearean sonnet. The concluding couplet, in contrast to Shakespeare's typical practice, provides no solution, no clever twist only inevitable tears. In the last quatrain the speaker applies these lessons to his own situation, realizing that death is inevitable and time will come and take his love away. The second quatrain portrays a victorless struggle between the sea and the land. The opening quatrain begins with the personification of time, a destroyer of great things built by man, a force man cannot equal. 3.2 Phonetic play in 'Ruin hath taught me thus to ruminate'.

Sonnet james