The two written pieces that I have chosen to analyze for key linguistic principles and use of the English Language are “Sonnet 29” by William Shakespeare, original publication in 1609, and “One Art” by Elizabeth Bishop, original publication in 1976. William Shakespeare's “Sonnet 29”, opening with the line "When, in disgrace with fortune and men's eyes," is one of his most renowned poems. I've chosen this sonnet because it highlights the power of love and poetry to overcome despondency. Elizabeth Bishop's villanelle "One Art" is a poem that delves into the theme of loss as well as how the speaker handles it. "One Art" by Elizabeth Bishop is a powerful poem that expresses the complexity of dealing with loss. The poem employs words and language skillfully while creating a contrast between clarity and ambiguity. The poem conveys the message that losing is not an easy art to master, but rather a painful and inevitable part of life. Shakespeare’s “Sonnet 29” and Bishop’s Villanelle “One Art” both demonstrate the skilled use of the English language to convey meaning, emotion, and style. While separated by over three centuries, analysis of these formal poems reveals key similarities and differences in semantic choices, register, dialect, and literary devices. Both poems are deeply felt, brilliantly written, and explore the theme of loss and hope.
These two poems are relevant to me personally because I can relate to their feelings of loss and how Shakespeare and Bishop cope with it. I have also experienced different kinds of loss in my life, such as the loss of my home and land, marriage, family members, and friends. Yet there is always beauty throughout everything in this world and in my life. These poems have shown me that loss is inevitable and universal, but also that there are ways to overcome it, such as finding meaning in love or art. These poems have also had an impact on me as a writer because of their poetic devices and forms to express complex emotions and ideas in a creative, personal, and effective way.
From morphological and phonological perspectives, the use of language in "Sonnet 29" by Shakespeare and "One Art" by Bishop affects the meaning and the impact of their poems. Shakespeare uses free morphemes, bound morphemes, and affixes to create words that express his intense feelings of sorrow, anger, and love, such as bootless cries, beweep, and despising. In “Sonnet 29”, an example of a free morpheme is state which can stand alone and has meaning. It appears in the line: “my outcast state”. A bound morpheme is a word part that cannot stand alone as a word but modifies the meaning or function of another word. An example of a bound morpheme in “Sonnet 29” is the suffix -ed in the word possessed. The word possess without the suffix -ed can stand alone as a word, but the suffix -ed cannot. An example of an affix that is a type of bound morpheme would be dis in disgrace. Shakespeare also uses alliteration “Like to the lark”, consonance “outcast state”, and assonance “eyes, cries, despising, arising” to create a musical rhythm and rhyme scheme that enhances the beauty and the structure of his sonnet. Bishop uses free morphemes and simple words to create a conversational tone and a sense of irony that undermines the seriousness of her losses, such as "The art of losing isn't hard to master" and "Lose something every day". She also uses onomatopoeia and assonance to create a contrast between the sound and the meaning of her words, which highlights the difficulty and the inevitability of losing, such as fluster and gesture or vaster and disaster. Some of the words have multiple meanings or associations, such as master, disaster, intent, and fluster which adds to the poem's complexity. Bishop paints a vivid picture of what the speaker has lost and how loss can affect different aspects of life.
From a semantic perspective, certain word meanings have shifted between the two pieces, reflecting changes in the English language over time. In “Sonnet 29”, Shakespeare refers to disgrace and outcast state to indicate disfavor, whereas Bishop utilizes disaster to show misfortune in “One Art”. The term art semantically transforms from meaning skill in Shakespeare’s sonnet to Bishop’s context of poetry. Additionally, both use words with contrasting connotative and denotative meanings for poetic effect. For instance, jewels in “Sonnet 29” suggests treasures, though its literal meaning is precious stones. In this sonnet, the speaker conveys feelings of sorrow and envy toward those who are more fortunate. The speaker yearns for their abilities and opportunities. However, in the final six lines, the speaker's mood shifts towards hope and gratitude. They recall the love of someone who brings them joy and enriches their soul. The speaker concludes that they would “not trade their state with kings”. In "One Art", Bishop repeats the line "The art of losing isn't hard to master" throughout the poem. She lists different things she has lost, ranging from trivial items like keys and names to more meaningful ones like places and people. She uses irony and understatement to contrast the different degrees of loss and to suggest that she is trying to convince herself that losing is not a big deal. However, in the last stanza, she reveals that she is struggling to cope with the loss of a loved one and that losing is indeed a disaster. The register or speech adaptation in these works is elevated and literary, as both are formal poetic verses. Yet close examination shows Bishop’s villanelle employs a more conversational tone at times, including contractions like don’t and I’ll, whereas Shakespeare adheres to a consistently higher register befitting the 17th-century sonnet structure. The intimate nature of these verses also affects the tone and vocabulary.
In “Sonnet 29", Shakespeare incorporates various instances of the Early Modern English dialect. For instance, he employs thy instead of your, as evident in the line "thy sweet love remember'd such wealth brings." The term haply, meaning by chance, is used in the phrase "Haply I think on thee, and then my state." Conversely, Bishop's "One Art" employs a contemporary English dialect with distinct features. Modern verb conjugation is utilized, such as losing instead of the archaic loseth, as demonstrated in "Then practice losing farther, losing faster." The poem is characterized by frequent fragments rather than complete sentences, exemplified by lines like "Places, and names, and where it was you meant to travel." Notably, the use of thee/thou pronouns is notably absent, as seen in the phrase "I lost two cities, lovely ones." The dialects employed in these two poems showcase noticeable differences across the centuries in which they were composed. Shakespeare's Early Modern English imparts a more formal and archaic quality, while Bishop's contemporary and conversational tone reflects the evolution of the English language over time.
Examining stylistic elements shows rich literary mastery shaping these poems. For example, Shakespeare’s use of metaphor comparing the speaker to a “lark at break of day arising” conveys despondency lifting into joy. The rhyme scheme and meter also show meaning and impact. Bishop’s repetition of “the art of losing isn’t hard to master” stresses the theme of processing loss as a skill set. Her intermittent rhyme and enjambment create conversational flow. The linguistic styles enhance thematic development in both works. Shakespeare employs various poetic devices, including metaphors, personification, alliteration, and rhyme, to express his emotions and thoughts. The use of irony, symbolism, and imagery offers a glimpse into the speaker's struggle with accepting and overcoming the loss of a loved one. The poem also reflects Bishop's personal experience with loss and grief. In "Sonnet 29", Shakespeare expresses his frustration and sadness after losing his social status and self-worth. Using metaphors and personification, he compares himself to nature and fortune, saying that God does not listen to him, "deaf heaven" and "in disgrace". He feels isolated and unhappy until he remembers his beloved, who makes him feel rich in love and contentment.
When looking at Shakespeare's writing from a grammatical standpoint, it becomes apparent that he writes differently from our modern conventions in just about every area due to his use of Early Modern English. Bishop largely adheres to 20th-century grammar rules but sometimes artistically disregards them for poetic impact through fragments, ambiguous references, and varied punctuation. Overall, both display a mastery of language in their respective eras while subtly playing with conventions to suit artistic goals.
I have revised “One Art” in the form of a Shakespearean sonnet, with the intention of appealing to an Early Modern English audience from the 17th century to the best of my ability. Poetry and sonnets play with the order of words in a sentence, and while some of the spelling and vocabulary may differ from modern English, the poem's underlying theme of coping with loss remains consistent. Here is the complete poem, “One Art” by Elizabeth Bishop:
The art of losing isn’t hard to master;
so many things seem filled with the intent
to be lost that their loss is no disaster.
Lose something every day. Accept the fluster
of lost door keys, the hour badly spent.
The art of losing isn’t hard to master.
Then practice losing farther, losing faster:
places, and names, and where it was you meant
to travel. None of these will bring disaster.
I lost my mother’s watch. And look! my last, or
next-to-last, of three loved houses went.
The art of losing isn’t hard to master.
I lost two cities, lovely ones. And, vaster,
some realms I owned, two rivers, a continent.
I miss them, but it wasn’t a disaster.
—Even losing you (the joking voice, a gesture
I love) I shan’t have lied. It’s evident
the art of losing’s not too hard to master
though it may look like (Write it!) like disaster.
Here is my revision:
In art of loss, my soul doth find its grace,
A skill so deft, I wield with gentle ease,
Though parted hands, departures I embrace,
Each passing thing, with calmness I appease.
This art of time has perfected thus,
To lose my grasp when fades the season's close,
As joy departs and tears mine eyes corrected,
In verse and rhyme my sorrows did expose.
Grand kingdoms lost, great cities turned to ash,
Some realms now gone, whilst others quiet pass,
A continent's adieu stirs not disgust,
Nor fading memories that ever amass.
Whilst loss immense as endless sea may seem,
'Tis not the loss - the letting go I deem.
The language used in Shakespeare's “Sonnet 29”, composed in Early Modern English, has dual effects on its communication to both the original audience and present-day readers. Terms like thy and haply were commonplace during Shakespeare's era. However, the complexity of sentences and vocabulary could have created a barrier for some of his audience. Shakespeare's mastery of language effectively conveys complex emotions and ideas which had the potential to cross that barrier. In “One Art”, Bishop conveys its message effectively through specific language choices for its original audience and time period. Using contemporary English suited for the mid-20th century, the poem employs modern verb forms like losing for clearer understanding. The inclusion of sentence fragments, like "Places, and names, and where it was you meant to travel," reflects the conversational style of the time, creating engagement. The omission of old pronouns adds a relatable feel, helping diverse readers connect with the feelings of loss.
In “Sonnet 29” replacing archaic words like beweep with more contemporary equivalents such as lament and substituting thee with you and the use of metaphors could also be simplified to enhance the poem's accessibility for contemporary readers. For example, instead of “Like to the lark at break of day arising” a more familiar image such as "Like a bird singing at sunrise” could be used. Certain phrases could be clarified to improve understanding, such as rewording “With what I most enjoy contented least” to “What I once enjoyed no longer brings me pleasure.” Similarly, “One Art” could be modified to better align with standard language use while maintaining its message. Instead of using shan’t which means shall not, the poem could use won’t for better familiarity. When discussing loss, it can be helpful to use more familiar examples when using metaphors. For instance, “two rivers, a continent” could be referred to as “precious land and cherished homes”. These changes would make “One Art” more relevant to modern readers.
Shakespeare's “Sonnet 29” and Bishop's “One Art” demonstrate different uses of morphological, phonological, and semantic elements, reflecting the evolution of the English language over time. Shakespeare's sonnet, written during the Renaissance, contains archaic morphological features, including inflections and word forms that are no longer prevalent in modern English. The use of “beweep” instead of “lament” and “thee” instead of “you” shows again these differences. Also, phonologically, the pronunciation of certain words has evolved since Shakespeare's time, which can lead to a difference in meter and rhythm when reciting the poem compared to how it was originally intended to sound. The phonological elements of “Sonnet 29” might present challenges for modern readers unfamiliar with the older pronunciation and stress patterns. In contrast, “One Art” by Bishop, written in the 20th century, employs morphological elements consistent with modern English. The language is, in general, devoid of archaic forms, making it more accessible to contemporary readers. The morphological simplicity allows for an easy understanding of words and their meanings. Bishop's poem phonologically follows the natural rhythm of modern English speech, and the meter is better understood by readers of the same time period. Overall, the phonological aspects of “One Art” align with the standard pronunciation and intonation used in contemporary English, allowing the reader an easy comprehension. Semantic elements in the two poems also exhibit differences due to the shift in language usage and cultural context over time. Shakespeare's language often includes metaphors and allusions that may require historical or literary knowledge for full comprehension. The semantics of words in “Sonnet 29” may not immediately be apparent to a modern audience. On the other hand, “One Art” by Bishop employs a more straightforward language, making its semantic elements easily understood by contemporary readers.
William Shakespeare, born during the Elizabethan era in 1564, was influenced by the arts and theater of his time, as well as England's expansion and exploration. Living in Stratford-upon-Avon, he drew inspiration from the rural landscape, evident in his pastoral imagery and nature metaphors. The political atmosphere under Queen Elizabeth I also shaped his writing, reflected in his historical plays like “Richard II” and “Henry V”. Shakespeare incorporated mythology and classical references in his works such as “King Lear”. Elizabeth Bishop, a 20th-century writer born in 1911, experienced significant global events like World War I and the Great Depression during her formative years. These influenced her themes of loss and resilience, prominent in her work. Her travels, including her time in Brazil, exposed her to diverse cultures, resulting in vivid descriptions of places and life experiences in her poems such as “One Art”. Bishop also explored themes of identity and gender reflecting the social and political changes of her time, including the feminist and civil rights movements.
Shakespeare's “Sonnet 29” and Bishop's “One Art” are shaped by different factors. In “Sonnet 29”, Shakespeare's exposure to the arts and literature of the Elizabethan era is evident in his use of poetic devices and archaic language, as seen in phrases like “beweep my outcast state”. Bishop's experiences during the 20th century, including World War I and the Great Depression, directly influence the language in “One Art”. The poem's directness and repetition of “The art of losing isn't hard to master” reflect the upheavals in her understanding of loss. Bishop's nomadic lifestyle, along with her exposure to a variety of cultures, adds depth to the imagery in her poem. Additionally, her connection with modernist poets influences her ability to express emotions in a way that is easy to understand.
Denham, Kristin, and Anne Lobeck. Linguistics for Everyone: An Introduction. Cengage Learning, 2012.
Fraser, Emma. “Shakespearean English: A Complete List of Words + Phrases to Know.” Backstage, 21 Dec. 2022, www.backstage.com/magazine/article/shakespearean-english-words-definitions-75804. Accessed 30 July 2023.
“How Did Shakespeare Write a Play?” Shakespeare Birthplace Trust, www.shakespeare.org.uk/explore-shakespeare/podcasts/what-was-shakespeare-really/how-did-shakespeare-write-a-play.
Mabillard, Amanda. Shakespearean Sonnet Basics: Iambic Pentameter and the English Sonnet Style. www.shakespeare-online.com/sonnets/sonnetstyle.html.
“One Art by Elizabeth Bishop.” Poetry Foundation, www.poetryfoundation.org/poems/47536/one-art. Accessed 30 July 2023.
“Sonnet 29 by William Shakespeare.” Poetry Foundation, www.poetryfoundation.org/poems/45090/sonnet-29-when-in-disgrace-with-fortune-and-mens-eyes. Accessed 30 July 2023.
Sparrow, Katharine L. “How to Write an English Sonnet Like Shakespeare.” Owlcation, 2 July 2023, owlcation.com/humanities/How-to-Write-English-Shakespearean-Elizabethan-Sonnet.
A favorite reading of “Sonnet 29”:
https://youtu.be/QY0A9TWFPNw?si=xXY6O5396UdbGufF
“desiring this man’s art”
A favorite reading of “One Art”
https://youtu.be/BSDfcGb9W9A?si=-NqCO8j_DHc3gHY0
This essay is still under revision.