The sonnets were well received by the public and eventually helped Mickiewicz to get a government position. Mickiewicz's sonnets provide an illustrative view of the Crimean landscape through Edward Said has contended that orientalism is a Western "system of representations" that "constitutes, contains, and appropriates the Orient by speaking on its behalf and is thus by its very nature imperial" (Koropeckyj 661)
"Sonnet 73" realizes it is complicated and "Sonnet 116" declares it is beautiful. Dennis Kay maintains that Shakespeare develops a "novel way of representing human consciousness, of an inner life" and his sonnets are "at once the speaker's dramatic self-revelation and self-examination" (Kay 356)
Through his experiences, we are able to learn that we are not alone. Thomas Parrott writes that when writing his sonnets, Shakespeare "followed the fashion, but as usual, he followed it in his own way" (Parrott 192)
The structure of the sonnet is important also. Jay Rogoff maintains that line "disorder surely enacts the speaker's resistance to aging" (Rogoff), which certainly goes in line with the direction of the poem
By and by the gloom will deepen into pessimistic darkness" (Tyler) and the poet will cry out for "restful death" (Tyler). The poet is also acutely aware that his lover realizes the age difference every time he looks at him when he says, "In me thou seest the twilight of such day" (Shakespeare Sonnet 73-5)
. By and by the gloom will deepen into pessimistic darkness" (Tyler
Sonnets began as songs. In fact, the word sonnet is Italian for "little song" (Hennequin 2000)
They argue that the neo-Christians are wrong on both counts; that Milton continually questioned Christian doctrine and here they praise Empson, including its theological paradigms of male and female. They argue that on the one hand he endorsed 'a revolutionary political and religious life which is also sexually radical' but that 'nor should we ignore Milton's inevitable complicity with orthodox sexist ideology… there are limits to how far even a heroic individual can transcend his background and education, in thought and practice' (Aers and Hodge 1981:84)
Gilbert argues that the poem remained largely unchallenged in its literary presentation of the archetypes of male and female characteristics up to the beginning of the twentieth century. Women writers of the nineteenth and twentieth century's (Gilbert emphasizes the work of the Brontes and Virginia Woolf), found themselves dealing not only with non-literary social codes of gender stereotyping but also with a literary text which claims to describe, indeed verify, the origins of these socio-cultural abstracts
Christ is the decent, conventional sibling while Satan is the deviant 'son of God' who enters a pseudo-social relationship with Eve (he is in a general sense her 'seducer' in Book IX), which in turn results in the perpetration of Satanesque deviance in Eve's seduction of Adam and the creation of humanity (Newlyn, 1993). The fact that the voice of male authority is unattended by a physical presence, and is by implication timeless and transcendent, while her own self-image is that of an attractive, silent object prefigures, so Froula argues, an entire tradition involving the patriarchal governance of language, with the female as the silent subject (Le Comte, 1978)
In his representation of Eve he dramatizes and reinforces the ingrained perception of woman as, in various ways, allied to the more dangerous and degenerate human tendencies. Consequently Paradise Lost has functioned for women readers and, significantly, for women writers as a dominant, even threatening, cultural monolith (Nyquist, 1999)
Gilbert's essay extends the structuralist-sociological model of Landy (1972) who looks at the characters of Paradise Lost in terms of the traditional, Western, family. Christ is the decent, conventional sibling while Satan is the deviant 'son of God' who enters a pseudo-social relationship with Eve (he is in a general sense her 'seducer' in Book IX), which in turn results in the perpetration of Satanesque deviance in Eve's seduction of Adam and the creation of humanity (Newlyn, 1993)