Spenserian Sonnet Figurative Language

In the ballad of this Spenserian sonnet, we find a man upon the stage of the world, performing for an unrequited love. As an actor upon this phase, efforts are made to appeal to the audience. Argo, until this, properly carried out- neither a projection or contest of emotion will elicit. As does the author of this Spenserian sonnet, his stridency to appease succumbs to the crass nature of a woman. To which this sonnet derives such implicit diction, emotion, figurative language, and structure, we will investigate.

The first of three quatrains employs the matter of the protagonist's situation, laying out an analogy to characterize his actions as admirable. A dire situation, his audience, a woman, watches the performance with critical eyes. The analogy is further supported, "My love, like a spectator, idly sits; Beholding me, that all the pageants play" to ends meet no avail? As a result of such complacency, the author abstains emotionally, sub partially as a consequence of the sick pleasure she indulges in the second quatrain.

Moreover, we find that the second quatrain contains the matter that is his displeasure. To this, the protagonist, joyous, partakes in this emotion momentarily. As a notion, "woes a tragedy" and " a
Figurative language tells us such actions she sees due regard in a different sense. Only when "I laugh, she mocks; and, when I cry, she laughs" do we receive a blunt statement outlining the message of the sonnet. A woman, who sits only for the pain, who laughs at the failures of a man, she is cold. Just as the author depicts her, "She is no woman, but a senseless stone" She as a woman is mirthless, disconsolate in the factuality of the matter. Only on creating dogma does she find worth as her views are content to dismaying the life of the author. Henceforth, language structure throughout this quatrain and the sonnet as a whole builds up to a meaningful