Love And Time In Shakespeare’s Sonnets

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INTRODUCTION

William Shakespeare, an English dramatist and poet, is considered the greatest writer of the English language literature of all time. His plays were translated into almost all languages, and nowadays they are played more often than any other playwright.

The tone of the sonnets, apart from the conventionality of certain reasons, breathe boredom and pessimism and could prelude to Hamlet and the following grim tragedies, seems to reveal a very different Shakespeare professional Lucky scene emerging from the arid biographical documents come down to us. There, yes, conventional reasons, such as abound in the many songbooks of the time inspired directly or indirectly in Petrarch. Thus, the reason for the immortality assured by the verse, Horaciano topic that became fashionable poets of the Pleiade; the theme of the night appearance of the beloved; or sets of concepts that eyes and heart conflict.

The present work treats aspects related to William Shakespeare’s life and opera, emphasizing the themes of love and time, mainly in his sonnets. In this respect, when love approaches concrete definitions, it is usually conceived as the ultimate force that liberates the individual from the shackles of the material defects. It is a state of purification where the individual is born unhurt in the new flame of life. Within this purification, there is also a new knowledge that illuminates the perspective of the individual in the physical world. Once knowledge is acquired, it redeems the individual, so that he now has the potential to go beyond love, that is, to transcend it. However, to transcend the love, the individual must first achieve it; transcend consciousness and thus attain love, which means transcending the force that holds her consciousness: guilt. Consciousness itself is not the oppressing of physical liberty of the individual, in fact, it is the fault that takes possession of consciousness and thus embarrasses the individual. Guilt, product of morality, born in the physical world; therefore on the individual. Guilt gives the individual the goodness or badness of the physical world, but only on a superficial level since reaching deep states of goodness or badness depends on what the individual chooses to achieve. Thus, transcending love implies a difficult task: to overcome guilt; this represents overcome fear to understand a supreme truth.

As concerning me,

CHAPTER I

GENERAL ASPECTS REGARDING WILLIAM SHAKESPEARE’S LIFE AND OPERA

1.1 William Shakespeare’s life and work

William Shakespeare, an English dramatist and poet, is considered the greatest writer of the English language literature of all time. His plays were translated into almost all languages, and nowadays they are played more often than any other playwright.

Around 1860, while his work culminated with Les Miserables, Victor Hugo wrote from exile: „Shakespeare is not the monument that England owes". At that point, the work of the nineteenth century is considered the greatest playwright of all time, even if in the past, it was ignored by most and despised by the exquisite. The words of the French patriarch fell like a sledgehammer on British patriotic conscience; Shakespeare dozens of monuments were erected immediately.

Currently, the volume of his complete works is as indispensable as the Bible in English-speaking homes; Hamlet, Othello Macbeth or the Sonnets became symbols and the author is a classic on the running rivers of ink. However, William Shakespeare remains as a man unknown.

In 1609, without his consent, a set of Sonnets, authentic universe of extraordinary formal rigor and conceptual depth that has raised readers and scholars a number of occasions uninterrupted to the astonishment, was published. A series of 154 sonnets of unquestionable perfection, written over twenty years, retook and modified Petrarch tradition, with several storylines enigmatic definition: the earliest are dedicated to a young beautiful and flighty whom the voice reproaches poetic and yet disdain advised to marry, while a rear block refers to a brunette lady in which many have wanted to guess another guise sex. In any case, progression and outstanding quality make this a whole world of unsurpassed aesthetic density.

The sonnets are mirrors of the entire map of the modern sensibility, as are built in a world, the Renaissance, in which the divine presence begins to wane. For the first time, doubt face of identity, age, betrayal, ambition and even the perception of evil is in human radicalism. But that does not explain its unique quality; It happens to these characters and these conflicts arise from an unlimited capacity to shape the word at all levels. There are no borders in Shakespeare jesters and kings share the same range of problematic design, contradictory and rich social, verbal and moral existence.

In the XVIIth century an important development of the European theater, especially in England, Spain, France and Italy, occured. The troupes remained mostly itinerant, but since the late sixteenth century began to settle. Representations of fans no longer had its former importance, the figure of the professional actor appearing, although the economic and social situation of theater people remained very precarious. If in Italy the actors enjoyed some consideration, in England the Puritan tradition was always hostile to those involved in such a dissolute art, while in France the Catholic Church refused the sacraments to the comic. The involvement of women in varied scenarios were admired actresses in Italy and Spain, but in England and in Germany the female roles were represented by boys.

In the late sixteenth century, during the reign of Elizabeth I of England, they were built in London the first public theaters and stable. Elizabethan theaters were buildings octagonal or circular, made of wood, with a central open courtyard and surrounding galleries. They had approximately 25 meters in outer diameter and about ten high. In the courtyard, the audience stood. On the platform of the stage, on an upper floor supported by columns, units for special effects machinery and other accessories stagehands undisputed theatrical figure in England.

In William Shakespeare’s career one can distinguish four stages. The first one (until approximately 1598) belongs to a series of pieces in which youth girded Shakespeare’s current fashions, adapting issues to public taste. In this period, he practiced various genres, from screwball comedy (The Comedy of Errors) to Senecan classical tragedy influence (Titus Andronicus) through the historical drama (King John, Richard III, Henry IV). Other works of this initial moment, as The Merchant of Venice, The Taming of the Shrew, Romeo and Juliet and A Midsummer Night's Dream, mark the beginning of a phase of greater creativity.

In the second Shakespearean stage, which runs from 1598-1604, are located the pieces often called "middle works", characterized by a higher stage virtuosity. Among the comedies stand The Merry Wives of Windsor and All's well that ends well, while dramas Julius Caesar, Hamlet and Othello announce the next period, known as the great tragedies (1604-1608), in which Shakespeare delves into the deepest feelings of the human being: the subversion of the affections in king Lear, violent and senseless ambition in Macbeth and unbridled passion in Antony and Cleopatra. The final phase (1608-1611) shines his latest masterpiece, The Tempest, in which fantasy and reality intermingle offering a testimony of wisdom and acceptance of death. The division in stages was no longer really an educational convention because the impossibility of chronologically dated of his works and for the same heterogeneity that is seen within these alleged stages in the evolution of his dramaturgy. Shakespeare, however, gave only an outline of drama, perhaps because of a crisis or a disease which could have gone with possibly renewed soul by religious faith: in fact, the view of his last dramatic works, and particularly of The tempest can be considered Christian. In the late seventeenth century, priest Richard Davies said that Shakespeare had died "papist" , being at the heart of Roman Catholicism; his father may have been a Catholic: this name appears on a list of "recusants" or usually Catholic people, who did not attend the ceremonies of the Anglican Church.

1.2 The mysteries of Shakespeare

It is true that the youth of the poet offers the most unknown passages for the biographer. However, the true mysteries of his life belong to those years when his career could be reconstructed quite accurately. The best known of these enigmas is related to his Sonnets, published in 1609 but written, mostly, about ten or fifteen years earlier. One of the protagonists of the 154 sonnets is a handsome young man who admires the poet, and the other is the famous ”dark lady”, who was unfaithful to the former.

Sonnets style was interpreted by many as a pastiche or parody of Petrarch's sonnets model. It illustrates, in any case, a re-conceptualization of petrarchism through topics such as:

Human vision (caught in the passion play);

Relationship with the company and provided genius;

Nature, love and art – universal ways of saving time and evil attack.

Shakespeare expresses the idea of a pure and stator love (sonnet 116); which does not exclude lucidity, realism, refusing conventional style fireworks and voluntary delusion (sonnet 130). Regarding the 130th Sonnet, there can be said more about it, being one of the most beautiful sonnets of love, rather than an abstract terre-à terre in praise of love from the 116th Sonnet. Sonnet 130 had multiple translation and interpretation variants, even if it is only a "simple" one, lacking in semantic ambiguity, sympathetic through its irony.

The volume contains 154 sonnets, of which 138 and 144 were previously printed. Almost all are composed of three stanzas of four lines and a couplet in iambic meter, abab rhymed of cdcd efef gg type. Often in these cases, the beginning of the third verse marks a change of tone, when the poet expresses a revelation.

Exceptions are sonnets 99, 126 and 145. Sonnet 99 has 15 verses and 126 consists in six couplets, while the lyrics of the sonnet 145 measure 4 syllables.

The collection is closed with "The lover lament", a narrative poem stanzas of verse and rhyme 47 ababbcc of recurrent type, first introduced by Geoffrey Chaucer.

Sonnets give the feeling and eventually even convince the reader to visit a temple and understands that the priest officiating the ritual union between text and reading is a creature with a special expertise whereof modern poetry can not even have the feeble idea.

Love, the central theme of the sonnets, is directed towards either to a lady or a friend, being, a high combustion soul to realize symbiosis. Shakespeare's sonnets are an imago mundi, a cosmos in which three levels infernal, terrestrial and a more subtle celestial triad, material, are psychic and angelic interwoven.

Volume’s fundamental theme is love in a generic sense as a gate opening to the entire cosmos. Of course, using Shakespeare's imaginary universe, the volume exults, through some poems, of carnal or spiritualized eroticism, but also it has poems professing existential longing for God, ascent’s tribulations to Him.

Many tried to find these key poems of the inner life of Shakespeare, evidence of his alleged homosexuality, saying the young heartthrob sonnets or, perhaps, the "dark lady" was none other than the Earl of Southampton, patron of debutante author, who he had dedicated his first two poetic works. It is not known with certainty who the subject of the secret worship of the poet was. Another unknown aspect is that his years of more social, economic and professional success, between 1603 and 1612, coincide with the period of his greatest tragedies, their bitterest works and disillusioned ones.

The future, extensive and detailed aspects are related to the ultimate mystery of Shakespeare's life, if only minor and anecdotal order: after appointed lead the husband of his eldest daughter, Susan heir, and bequeath valuables gold silver and his other daughter, Judith, left his wife his "second best bed." No one has been able to decipher the true meaning of this strange legacy, which, in turn, says much about the appearance of marriage of the poet. Posterity has dealt with Shakespeare more than any other author, and not only in the positive sense. Many wanted to deny responsibility for their attributing it to higher, preferably illustrious origin spirits work. It is expressed with fast images, in the same work jumps years, countries and seas, randomly changes the weft threads alternating comic and the tragic tone. His work is the perennial concern and perspective infinity and it ignores the canons of the composition because due to more important and atavistic that unit time or place laws.

1.3 Shakespeare and literature transition: from the tragic humanism to baroque

Baroque was considered to be a superlative bizarre of etymological aspect. Literature is not a static system or a mere multitude of works written in a certain period of time, but a living organism, a continuous-action dynamic in which there is a steady fight between old and new, shifting configurations literary consumed the new ones. These concepts and elements of the literary always "hit" the totality of changes, lies on a progressive scale in their development, moving from one stage of maturation. This phenomenon is characteristic to Baroque. The roots of this trend begin to be noticeable ones since the Renaissance.

Studying the literary and artistic phenomena meant, especially lately a subject of discord uninterrupted for researchers, especially in the cut reason periodization subjective. One of the most controversial events in this respect, is the eternal baroque read and reread until exhaustion. Future system Baroque elements that arise within the renanscentist culture and literature apparently do not have work definitively to achieve an unique theory about a new crisis of sensitivity. Sometimes, theorizing too intense a cultural phenomenon entails artistic aesthetics of its products, to the detriment of genuine feelings of re-reading them in the context of their validity in this reception. A similar phenomenon has happened and baroque.

C. Guillen stated that: "Among the literary currents of a certain age, there are some coming from the previous period, that is about the recovery, while others are forward-looking, which is actually the character anticipator". It was noted that since 1520 no longer meet with all classic works: there is a crisis of artistic sensibility that will mean the end of the Renaissance, Baroque later called it integrated into the broad category of anticlasic.

The concept and the term next to the image relative to the classical baroque appears as fundamentally heretical. The contrast between classical and Baroque led to numerous disputes between old and new, between light and sobriety. The great philosopher Plato stated that delusion, that tension boundless inspiration, that old enthusiasms is considered to be decisive desire outlining of beauty, and one may quote that there, „workman is up to beautiful poems, epic poets – all good – but prey inspiration and dominion of a divine power, and the same with its great poets. As those gripped by delirium dance only when they lose their judgment, so the lyric poets not clear mind compose their beautiful songs, but the moment he enters the path of harmony and rhythm, are caught and restrained by delirium bacchanal, also Bacchae which under exaltation sacred rivers out of milk and honey, to lose this grace as soon as they come to their senses. Such things happened in the soul of lyric poets, according to their own testimony".

On the other hand, Pliny claims that human art must be allowed to feeling excitement. Exaltation feeling disregards limits. This mood is reflected governing the Baroque period, when Pietro Aretino will say "pleasant folly of divine inspiration." One may bring to the fore the bond that holds a interpretative value – semantic madness and inspiration.

The dispute is initiated and even mentions the word origin, a dual origin after all the clues, met during the sixteenth century in the Baroque period. However, all these relationships and implications sky – in the most serious – a very thorough analysis, able to encompass not only cultural system as a whole. The word "baroque" applies, so far as is spoken primarily irregularly shaped pearls, imports by the Portuguese in India ( "perolas Barrocas" or "berruecos"). However, a first etymology of the word "baroque" can be made from the word ”Baroco” an artificial word, which in the Middle Ages, featured a syllogism.

A second etymology is based on the Spanish term "baruecco” or the Portuguese term ”barocco”, both specifying a variety of imperfect pearl, with between sphere and wave form.

Portuguese word links to a pearl with asymmetrical shapes and impure water. The pearl often reveals depressive character of such a glow. For its interpretation, one should refer to both the melancholy and at monthly symbol, suggest terms for both black and pale.

One can admit that if authoritative experts in science should investigate specifically literary phenomenon would finally create a clear position about the genesis of the Baroque period with the features they include. For example, a space Pearl has often eclipsed the power of an eye hypnotic spell effects as the month which rules on black sky. Sometimes, however, we have the ability to see a shiny diabolical pearl, hallucinating bits in the night, spreading mysterious background of clouds, deprived of serenity, instability universe. One may think that he have no right to overlook the close connection of Mircea Eliade between a seal and shell ground, both having its genesis in primordial water environment.

Baroque "expresses the universal feeling of contradictions in life, polarity, conflict opposing trends, divergent, creator of contrasts, oppositions and oscillations continue."

Instability is a segment of identifying human interior that seems increasingly fall into pessimism. There is a real necrophiliac taste. It will subsequently develop a taste for excessive funeral. Never in literature have not been cultivated catafalques, mourning drapes, spectacular sarcophagi, rich crypts, mausoleums with gigantic temples of death.

It seems that this obsession by ricochet cause thirst to enjoy life intensely for short time. Man understands that life is limited and obsession with death, sometimes accompanied by frenzy vital, has nothing in common with the joy of living, balanced and serene. Even if the topic of death dominated and medieval spirit which I have no right to deny safe now, it is replaced, during the crisis of humanism, with the madness. Crazy devoid of any rationality and being fed only fear and obscurity. The emergence of crisis and treat germs not only artistic madness that issue generally, but also cultural and historical results in the conversion of the old "enthusiasms" in "new melancholia," which was thought to be given to all servants of the Muses.

The notions of madness and melancholy were especially pronounced in northern Europe, where humanism is seen in its look deeply problematic. Sebastian Brandt wrote the poem "Ship of Fools" that became an inspiration for Bosch painted illustration of this poem, and in 1509 draw in Rotterdam Erasmus' Praise of madness ". This insanity is defined as a sin of human identity, or better said, madness is considered to have an archetypal significance for mankind's original punishment. Alienation itself make the error that has the power to confirm the thesis on the nullity of existence. Therefore, the Baroque "and drama genres discover irregular free, also mixed madness out of control" .

Most people who have studied this literary movement argue that the term baroque crucial obstacle remains until today, in all intellectual circles great tenacity negative meaning of the word.

Folk, traditional, almost invincible, always remain: irregular, so imperfect, so bizarrely and ugly, so fake, ridiculous, shrill, identified with "bad taste", exaggeration, emphasis, disorder, lack of aesthetic sense. However it is not difficult to notice that the emergence and spread of this prejudice is primarily due to the strength of taste and aesthetics of classical, specifically classicized whose rigor start to compromise more seriously the concept of Baroque early as the seventeenth century, when it is duality: classic-perfect made an imperfect Baroque.

According to a typology, Hatzfeld noted that "barochist" seems rather baroque classical own. It is true that, in general, that "barochism" develops Baroque to abuse, manner, damage and extreme formalization. The term is used especially to name the Baroque trends in all their complexity. With time, Baroque recreate a universe devoid of harmony and balance that characterized the Baroque classic, even if it was conceived as something opposed to harmony and balance in Renaissance art.

The world becomes a maze, where the likelihood of error and not finding out what path to freedom is just as possible as a snow-polar kept. The labyrinth does not only causes concern and agitation, but also a coded leaning toward mystery. Picture of Baroque and frequent, if one remember well, enclosure and superior unclear thinking betrays emotions towards their own existence and capacity, rejection and attraction. Christian penalty racing irrepressible temptation tempting and they promote are building a strong experience of what brings disappointment and hopelessness, however, scepticism, the feeling of doubt and uncertainty showed.

In the Renaissance one may observe the opposite. One would bring some arguments right now notorious. Man, in this period, practically it was considered as the measure of all things, the center and the beneficiary creation. Renaissance extolled the beauty and perfection of human intelligence body. Pico della Mirandola in his speech, "On human dignity", he praises the man presenting it as a work divine but also as a creator of Self, the only being who has been given the freedom to improve: "I never gave any some place to stay, no you own any form, nor any specific predestination, that's because you might choose as your desire, how will you decide you any place to settle down, any shape and any action. Nature all the other beings is limited and constrained by laws established by us. Only you alone and nothing restricts you alone endowed with free will, which I have given you, decide which restrictions to submit your nature. I stand among world for you to be your eyes easy to penetrate into everything around you. I have not made any heavenly being, nor earthly, neither mortal nor immortal, so you'll be free and sculptor to yourself so that you can get dressed in whatever form you choose. You can fall into state animal, but you're tall and understanding from the soul to the degree of being like God. "

Somehow, comparing above and parallels between Baroque and other literary movements, baroque is (still) very little used in critical and our history literary insufficiently assimilated criticism and aesthetics Literary foreign Baroque continues to be a term quite confusing and equivocal, full of difficulties and contradictions.

Tudor Vianu sets a preliminary cultural context that made possible the emergence of W. Shakespeare, as a result of successive accumulations. Renaissance humanist character and Shakespearean opera lies on forms, reasons and literary sources used and the processes of art and its general spirit.

In terms of literary forms, Tudor Vianu stresses his preference for Shakespeare’s tragedy historian and legendary comedy of character, adding pastoral bliss and dramatic tale. This goal is specific to Renaissance literature and poetry became in this era an instrument of human soul and society knowledge. Shakespeare and other writers will proceed as Renaissance, based on a philosophical understanding of life and the characters showing budding dominated by contradictory traits. Shakespeare's philosophy is converted into a radical scepticism. According to Tudor Vianu ethics, Shakespeare is a purely immanent criterion of the moral life with only a regulator soul. Therefore, his songs are repeated victory celebrations of titanium man.

The study that completes the picture of Shakespeare, pathos of truth, time and love in his Sonnets, is the most important from the point of view of intersection tinting points and specific differences between two cultural periods, which have fascinated Tudor Vianu: the Antiquity and the Renaissance.

By existence, Shakespeare states and enriches the human and artistic personality, setting playwrights a higher status value in the evolution of national dramatic literature and helping to find creative specificity.

CHAPTER II.

ANALYSIS OF WILLIAM SHAKESPEARE’S MOST REPRESENTATIVES SONNETS

2.1 William Shakespeare’s sonnets’ history

Published in 1609, sonnets were the last non-dramatic printed works of Shakespeare. Scientists are not certain when each of the 154 sonnets were composed, but evidence suggests that Shakespeare wrote sonnets throughout his career for a private audience. Few analysts believe that the published collection follows Shakespeare's intended sequence. He seems to have planned two contrasting series: one about uncontrollable lust for a married woman with a dark aspect and one about love and conflict for a young fair. It remains unclear whether these are real people.

Since the sonnets seem clarify their intimate life dramas of Shakespeare man, critics have endeavoured to discover who this mysterious Mr. W. H., without however to very positive results.

According to a widespread opinion, the sonnets are dedicated to the Earl of Southampton, Shakespeare protector (W. H. would be the initial inverted Henry Wriothesley, the name of Count). Others, who do not believe it possible that a publisher dared to appoint a powerful member of the aristocracy with the single "Mr. WH" have thought of William Hall, a typographer who have sought the manuscript ( "begetter" can be interpreted as "attorney" as well as "inspiring") but he was not entrusted with the printing. The problem of identifying Oscar Wilde suggested the story elegant Portrait of Mr. W. H.

Critics argue that the sonnets are like a deep meditation on the nature of love, sexual passion, procreation, death, and time.

Framed in the first period of creation Shakespearean sonnets 154 structured shape in three quatrains and a couplet, it is in the deepest Renaissance lyric opera, competing in eternity author with his great tragedies. Friendship and love, death and life, time and literary art are the themes that articulates Shakespeare's poetry.

As for species, cultivated by the great authors of the sixteenth century with elegance and refinement, the poet offers English a form in which he melts a whole lyrical universe.

Dedicated to friendship for a man blond, in which literary history identified the noble protector of Shakespeare, Southampton, and love for a mysterious lady brown, "the dark lady" sonnets accumulate ideas poetic motifs and images, in the tradition of Renaissance is Decant the reception Shakespearean genius. The image of nature in the grand vision of the Elizabethan era is configured in sonnets from celestial heights variant vegetable world, in succession historical rise and fall.

In the midst of this decoration, the man is the expression of the Universe, as it was conceived and mastered passions primordial elements:

„But ah! thought kills me that I am not thought, 
To leap large lengths of miles when thou art gone,
But that so much of earth and water wrought 
I must attend time's leisure with my moan, 
Receiving nought by elements so slow 
But heavy tears, badges of either's woe” (Sonnet XLIV)

The being, in splendid together into her tragic time feels like a mixture of life and death, but without fear, with high wisdom of irreversibility phenomena. Even though during the summer turn into "hideous winter" spirit remains with an imperishable beauty:

”But flowers distill'd though they with winter meet,
    Leese but their show; their substance still lives sweet.” (Sonnet V)

Although passage drama lives, the poet does not want to stop the time, and he found ways to overcome its devastating effects. And in this respect, one of them was converting past and the present into the future through the biological perpetuation.

„Who lets so fair a house fall to decay, 
Which husbandry in honour might uphold 
Against the stormy gusts of winter's day 
And barren rage of death's eternal cold? 
O, none but unthrifts: – Dear my love, you know 
You had a father; let your son say so. ”
(Sonnet XIII)

Contemplating the historically devastating effects of flow time which "shatter the rich price of the Ages worn", the poet feels painful relentless struggle bronze with rust ocean with the "kingdom shores" of life to death, but found the main remedy in the amazing picture of nature, which is followed by wilting and collapse of a new flowering in a new ascension:

”If Nature, sovereign mistress over wrack,
As thou goest onwards, still will pluck thee back,
She keeps thee to this purpose, that her skill
May time disgrace and wretched minutes kill.” (Sonnet CXXVI)

Transferring existing model in its own copy of nature, man can defeat time by love, because:

”Sweets with sweets war not, joy delights in joy.
Why lov'st thou that which thou receiv'st not gladly,
Or else receiv'st with pleasure thine annoy? 
If the true concord of well-tuned sounds, 
By unions married, do offend thine ear, 
They do but sweetly chide thee, who confounds
In singleness the parts that thou shouldst bear”. (Sonnet VIII)

The poet himself having high consciousness of genius, rises above time through art. Ephemeral condition of human misery in life and love, the humble condition in society are mitigated by the superior condition of the poet who can, through verses, to defy time:

In the context of Beauty, Truth and Love, time escapes the threat. Love that "not the time buffoon", Shakespeare becomes a path to eternity, while he realize its true meanings.

Even if the living moment may disappoint or hurt lover, pure and strong love stands above human weaknesses, nourishing beauty and truth saddened the eternal soul of genius.

Love is equivalent to acquiring knowledge of self, is the light that gives access to superior ways, the perfect models, the eternal patterns. In this way, it becomes both a symbol of power you require, and how the symbol of human fear and hope. Love helps people understand the meaning of life, of being and, through it, they are offered the possibility of approaching literally this regard, " to make this signifier for their own lives," but also for one’s life near them.

Dumitru Stăniloae said that relations are based on the concept of love, asserting further that the reality of what is described intellectually as "relationship" has its spiritual equivalent to "love", a distinction between the two being based on theoretical approaches because in reality the two are interrelated, respectively "the ultimate reality or ultimate truth is the structure of love" and "love climax is the ultimate truth."

" Love is a reference to another and vice versa" or the other is the one next to people or above them. Moreover, the whole universe is made up of such correlations, and man is only a small element in this unique complex of correlations, with a well established role beforehand. But human desire is unknown for himself, leading him to attempt penetration of the divine mysteries, mysteries knowledge of primary originating and this boldness can also lead to a fall of man, a dip in the darkness audacity to prohibited areas while reaching humanity.

Supreme prohibition gives rise to a sense of melancholy and nostalgia: "But raided suddenly clouds row / darkening heaven-marvel / What the eyes of the world disappeared" (William Shakespeare, Sonnet XXXIII). This twilight may be translated into a space-time picture of what is claimed primordial state, the Increate. The moment is harmoniously suspended into darkness intertwine with light up and send condition imaging of Love: finding new dawn of new beginnings beyond the night to come. The idea of moving, of going to the west means steps in the future. But an output in the future is not possible without probing the depths of the soul, without a look inside his being. This introspective tone is Shakespeare's own, since he adopts a philosophical attitude and a quasi-religious style. English writer laments the waste of energy and creative power, power that is lost during the process of gathering material things necessary for inferior beings in the spiritual ( "Poor soul, the core in despicable me leaven, / strikingly rebellions life / why not deep pain you prey / "and out your aura your walls? / … / you better gather you in body strength …; / Give clay moments, / Be full of yourself on earth under ordinary” – Sonnet CXLV)

Carnal Eros is replaced by spiritualized one. The poet 's love imagines itself in its concreteness, because this charm would be cut, but take an imaginary journey to its meaning. Love thus becomes open to the universe, to its deep meanings.

Sonnets have the theme of love, put in correlation with time. The two basic terms, capitalized (Time, Love) and put in relationship, have symbolic value, defining the human condition. During the process of love, analyzed in time, one may determine the perishable nature of the human being, bringing her "mortality", "wither."

No human attitude of rebellion or resignation does not change the essence mortal. The only way for man to defeat their mortal condition is Love. So Love is "one forever new" man's only chance to fight death. Love is the sign of eternity, the gateway to the mysteries of cosmic resurrection.

Time is human life span that has been broken from eternity and eternity is the realm of Love. Poetic suggestion is that the body is under the sign of the Time, of impermanence and death, while the soul (spirit) is under the sign of Love, as the possibility of access to eternity.

Another problem is passionate critics identifying the rival poet, alluded to in the sonnets 78-86; It has been suggested by Barnabe Barnes (1569-1609), George Chapman (1559-1634) and others. However, inquiries much about it as about the Dark Lady ( "the Dark Lady") of another group of sonnets, have not managed to increase what we already knew about the details of the private life of Shakespeare.

The tone of the sonnets, apart from the conventionality of certain reasons, breathe boredom and pessimism and could prelude to Hamlet and the following grim tragedies, seems to reveal a very different Shakespeare professional Lucky scene emerging from the arid biographical documents come down to us. There, yes, conventional reasons, such as abound in the many songbooks of the time inspired directly or indirectly in Petrarch. Thus, the reason for the immortality assured by the verse, Horaciano topic that became fashionable poets of the Pleiade; the theme of the night appearance of the beloved; or sets of concepts that eyes and heart conflict.

But most of Shakespeare's sonnets are distinguished from contemporary songbooks by the passionate accent of lived experience, to the point that William Wordsworth defines as "the key that Shakespeare opened our hearts" (although another great poet, Robert Browning replied to it with the famous phrase "If so, Shakespeare dwarfs"). In the sonnets of the type called "Elizabethan" or "Shakespearean" (three quatrains of alternating rhymes and a final couplet: abab, cdcd, efef, gg) can be distinguished two or three reasons certainly relate to real situations. His meaning is clear; just missing the key allusions.

Shakespeare’s literary work has a dramatic development that would look in vain in other collections, generally devoid of a single well defined accent. Naturally, no less characteristic missing sonnets, but are scattered throughout the collection, according to a law of common economy even the greatest works; a volume that any composition was a masterpiece would be anomalous, artificial. This law of economics explains the presence of the much better than any possible theory to present the songbook as a collective work Shakespearean sonnets mediocre.

What is more about Shakespeare's sonnets is that the modern reader is the tone of clairvoyance of the poet and the accuracy of its analysis, that out of the usual schemes that kind of literature. Often desperate clairvoyance, as when the poet realizes his humiliation, the abdication of his dignity against an unworthy being; "Odi et amo" reborn with accents and very close to our sensibilities.

Then the confession has a new intimacy, as in Sonnet 30: "When court of sweet silent thought I summon the memory of things past …" and sometimes reaches the deep bitterness of a Christian sermon, as in the famous sonnet 129: "Splurge spirit in a desert of shame is the desire to act, and until it is no act desire is perjured, murderous, bloody, full of blame, savage, extreme, rude, cruel, untrustworthy: I just enjoyed, and is neglected, looked madly, and, as possessed, violently hated, as bait swallowed, lying on purpose to madden him who takes; crazy in pursuit, and again in possession … Before a ghost enjoyment; after a dream. All this the world well knows, but nobody knows how to avoid the sky that leads men to this hell. "

Anyway, its corrosive insight poet does not prevent the press notes that are of the purest and fresh in that Elizabethan poetry so rich in freshness and winged edges, as in Sonnet 18: "Should I compare thee to a summer's day .. . ", or 54" Oh, how much more beauty beauteous seem sweet ornament which gives purity ". Even when he carried away, as we had become fashionable among metaphysicians School John Donne, for subtleties and concepts, always alive depth of inspiration, which gives universal resonances at ways and modes of time note: so on sonnet 53, which plays with the meanings of "shadow": "what is the substance of which you are made, millions of strange shadows follow you, because every man has a shadow, and you, you are not more than a person, can obscure many things … ", or 87, it applies to love legal terminology:" Goodbye, are too expensive for me … you possess the titles that I have you all expired … ". Two of the sonnets published in 1609 (138 and 144) had already been edited slightly differently in the volume entitled The Passionate Pilgrim.

2.2 Text features and thematic aspects

The "Love Sonnets" by William Shakespeare published in 1609 consists of 154 poems that follow the model of the Elizabethan sonnet and not that of Petrarch, composed in iambic pentameter and divided into three quatrains and a final couplet with a rhyme (consonant, of course) cross the three quartets paired rhyme the last two verses. Rhythmically, the sonnets have the essential characteristics of iambic pentameter verse English and obey the stressed syllable English versification system, while compounds are five feet accentual or rhythmical clauses. Other formal particularity to take account of Shakespeare's sonnets, is that the syllabic count of English verse is made to the last stressed syllable, unlike the Castilian system. It remains to be seen, therefore, as the translator has attempted to solve the formal and structural aspects of the translation before going into the field of lexical transpositions and even themes.

  Although it sounds obvious, the first significant choice when is the preservation of the verse. The question is not trivial, since translatologists as solvents as Lefevere advocate strongly for translating the verse in prose, and others like Theodore Savory also defend this creative decision by the translator when the technical conditions of the original poem are simple enough allow this operation. Agustin Garcia Calvo has chosen to maintain the sonnet form, but the first change has introduced in the typographical arrangement of verse by separating the three quartets and the final couplet, while the original English follows the convention of not performing a spatial separation between verses until the final couplet. They have also changed the initial capitalization of each verse in the original text for more general use of lowercase letters in the English version. They are purely typographic changes that obey bordering semiotics criteria of what constitutes a verse, understood in every culture of unequal manner.

Unlike conventional sequences of sonnets of his time, devoted to women beautiful and haughty, the love sonnets of Shakespeare present very different in terms of inspiration and thematic characteristics. The first seventeen target a young friend of the poet, praise her beauty and her urge to have children, given that the poet justified by the absurdity that would mean that their great beauty to die with him. Then one heard that the young friend provokes jealousy in the poet because of his friendship with another poet, is seduced by the lover of the poet and the last sonnets (127 to 154) are directed to a woman (the famous "dark lady" or "the dark lady", a term which in English means not only dark but dark) or, well, somehow relate to it. The question has sparked a huge controversy in the fields of English literary criticism are supposed homosexual overtones of the sonnets, a hypothesis that the more conservative critique is not willing to admit debate. (The intimate nature of the sonnets is endorsed by the fact that Shakespeare himself would not make any effort no effort to publish them, and when they appeared was with a dedication not the author but the publisher and no apparent order. According to Jorge Luis Borges, "the work is intricate and dark, precisely because is intimate.

One holds fragments which context will not be revealed, let us hear answers to questions whose answer will always be doubtful. However, there is abundant material to support this thesis and published a wealth of academic texts concerning this topic, so interested to see how the translator has addressed the problem. At only be a clear target for certain sonnets (from 1 to 17 and 127 to 154), there is a problem generic ambiguity not greater significance in English as it does not have a matching system in its adjectival, but which represents an complicated task for the Spanish translator having to decide the gender of the recipient of some loving tone dialling. The mystery genre can be maintained more easily in English than in Spanish, and the translation is forced to reveal a generic identity that English can remain an airtight anonymity. The interpreter solves sometimes this problem with ingenuity to find a more neutral translation and strives to use substantive figures as "your grace youth" to avoid the adjectival. Undoubtedly, you can interpret the choice of Spanish male and extensible to a neutral way, but still the problem persists for the translator.

The case of archiconocid Sonnet 18, a sonnet that generations of British schoolchildren have had to learn to recite by heart, intimately convinced no doubt that the passionate declaration concerned the beloved poet, and that has been inserted into consciousness Anglophones collective presents a very illustrative case of how the translator solves the problem of gender of Shakespeare's sonnets:

“Shall I compare thee to a Summer's day? Thou art more lovely and more temperate. Rough winds do shake the darling buds of May And Summer's lease hath all too short a date. What a summer day shall I compare thee? You are sweeter and tempered: a flash of wind cocoons parteth May, and summer loan expires in the short term”;

It should be noted as, apart from choosing the gender of the recipient of the poem, the syntax is forced to extend beyond normal conduct and, interestingly, in a more recent prose translation, the words "pang" and "cocoon" they have been replaced by "burst" and "shoots" respectively. On the contrary, despite not having to have any sexual reference in English verse translation of Sonnet 131 opts for feminine adjectives, following the critical consensus pointing the last sonnets as the only ones who are unequivocally dedicated to a woman :

“Thou art as tyrannous so as thou art

As those whose beauties proudly make them cruel,

For well thou know´st to my dear doting heart

Thou art the fairest and most precious jewel.

In nothing art thou black save in thy deeds

Thou art as tyrannous so as thou art

As those whose beauties proudly make them cruel,

For well thou know´st to my dear doting heart

Thou art the fairest and most precious jewel.

In nothing art thou black save in thy deeds”

The Sonnet number 20 contains an extraordinary mixture of jealousy and misogyny to "false women" in an act of acceptance (although it seems resigned rather) the fact that nature has chosen the friend for the pleasure of women. These two streams of homoeroticism and jealousy bordering on misogyny are perfectly captured by the translator, despite the syntactic acrobatics you have to use:

Two loves I have of comfort and despair,

Which like two spirits do suggest me still.

The better angel is a man right fair,

The worser spirit is a woman coloured ill.

I have two loves…, as two geniuses that inspire me hour by hour: my better angel is a blonde man, my evil genius is a blackberry brunette woman.”

Given the enormous sexual ambiguity found in the sonnets of Shakespeare and the difficulties it poses for proper translation, Garcia Calvo solved very successfully translating elements that implicit and be strongly linked to the ambiguity generic English language, offer greater resistance to be translated. Evil that despite the more conservative and bigoted circles of traditional British critics, Shakespeare's sonnets are frequently marked homoerotic character (a condition that is easily masked after the sexual ambiguity of the English language) and a good translator is obliged to perceive this and reflect it in translation.

2.3 Lexical and syntactic aspects of the text

The first lexicon dilemma which has to confront the translator of "The Love Sonnets" of Shakespeare, is the translation of the abundant archaic usages found in the original text. Throughout the sonnets, Shakespeare addresses his beloved / a with the archaic treatment of "thou" (and thee derivatives, thy and thine), it was a familiar way of addressing a friend or a younger person and I was absolutely de rigueur in the love poetry of the sixteenth and seventeenth centuries (the John Donne, for example, almost always uses this treatment) and must be translated into Castilian in Castilian. What handiest in film dubbing in recent years is the widespread use of "vos" archaic that, on the contrary was characterized as respectful treatment accorded to authority figures. The perfect "thou" Shakespearean can be found in the sonnets of Garcilaso (which, incidentally, must be translated into English by using the "thou") and the widespread treatment of "you" to refer to the beloved parallel .

Another dilemma lexicon presented in translating Shakespeare's sonnets is the reference to the widespread use of archaic English verb forms (Thou art, sayeth, doeth, etc), the auxiliary use to form an emphatic statement that characterized the English of the time but has disappeared in modern English (Thou dost beguile the world ……..). In this election one should not to try to play foreign elements to the language translation and thus opt for a version more natural in the process, the translator merely adhere to one of the fundamental tenets of modern translation: "Let us not forget that the purpose of the translation is not, after all, other than playing in the text of the LT the closest natural equivalent – the closest equivalent nature in the words of Nida and Taber . As for the archaic tone of Shakespearean lexicon, the translator is inclined to play it in a more contemporary Castilian, except for occasional archaisms that are caused by the urgent need to seek the rhyme (in sonnet 22).

Finally, it should be noted that the syntactic structure and the desired harmony of translation is often "attacked" by the arrangement of the verses. Perhaps this is the greatest reproach that he could lead the translation, which would be subject to Lefevere's admonition: "The meter and rhyme and rhyme in the TLT would produce absurd ….. verbiage, twisted syntax and ungainly , TLO sense of betrayal. The joint needs meter and rhyme lead the same aberrations, but on a larger scale ". Although criticism of Lefevere seems certainly excessive in the case of translation present, it is undeniable that he has renounced achieve a high level of syntactical correctness and harmony, resignation fully assumed for the sake of finding the rhythm and rhyme.

2.4 Analysis of the most representatives sonnets

“When my love swears that she is made of truth
I do believe her, though I know she lies,
That she might think me some untutor'd youth,
Unlearned in the world's false subtleties.
Thus vainly thinking that she thinks me young,
Although she knows my days are past the best,
Simply I credit her false-speaking tongue:
On both sides thus is simple truth suppress'd.
But wherefore says she not she is unjust?
And wherefore say not I that I am old?
O, love's best habit is in seeming trust,
And age in love loves not to have years told:
Therefore I lie with her and she with me,
And in our faults by lies we flatter'd be”.

Sonnet 138 is about two lovers separating them considerable age difference. The author is the older and the younger lady. During the course of the poem, the lover tries to make her lover again feel alive and passionate though she knows that the years do not forgive and over time is an irreversible fact. His intention is that he will feel better and happy to believe, even for a moment, still being young and vigorous.

The author is fully aware of the adulation he lavishes his beloved, however, he loves to hear his words and is carried away by your praise though he knows that only make mask the truth. All the time the poet insists on believing in something that deep down knows it is a lie. The protagonist is afraid to come face to face with the sad reality and run the risk of losing his beloved mistress. In addition, he is interested to play along, would have you believe it's still a handsome gentleman. To achieve its purpose, pretending to swallow all the lies he tells her lover, only to get her to see him like her other lovers young assumptions.

Throughout the sonnet, Shakespeare plays often with the words. It gives them different connotations that can be seen in several verses. Some examples are noted:

“I do believe her, though I know she lies"
“Therefore I lie with her and she with me”

The verb to lie in itself has a double meaning in English that varies depending on the context. On the one hand means "lying" and other "lie", "lie" and "lie". In these two verses it is clearly contemplated that refers to sexual relations with his beloved. He knows that his performance is not as in their youth and their old age begins to take its toll on his amatory arts. It is considerably older than her lover, however, the flame of passion still very much alive inside as if it were still a burning boy. In this verse we realized something: we glimpse a relationship based on carnal love.

“When my love swears that she is made of truth”

The homonyms made / maid also highlights a double meaning. The verb means to make "doing" and maid "maid". In ruling sound almost equal. "Made of truth" would mean something like "completely honest", "incapable of lying," "faithful in love" or "maid of truth" that would be a pure and virgin maiden.

“That she might think me some untutored youth”

The word "untutored" generates an image of ignorance and stupidity. The term "youth" refers to the lack of guile, ingenuity and passion of an adolescent love.

“But wherefore says she not she is unjust?”

“Unjust" in the context could be interpreted as "infidel". The notes that the poet not just be totally convinced of his loyalty and suspects she seeks solace in younger lovers. It is clear that there is no mutual trust, either blatantly lie and are aware of it, therefore, they do so to avoid dealing with what is really happening, although they like and are pleased to be participants in that game.

Much has been speculated about the identity of the lover and the poet, but there is no dated data to make definitive conclusions. Candidates range from Queen Elizabeth’S own color to a prostitute named Lucy Morgan, passing a Emilia Lanier (1569-1645). Lady Lanier was known for having been the lover of Henry Carey, Baron Hunsdon first son of Mary Boleyn. The most important of the path is that this lady was the first woman in England to publish a book of poetry.

Which meets relatively greater acceptance is a Mary Fitton (1578-1647) lady queen and lover the Earl of Pembroke, son of Mary Herbert and nephew of Philip Sidney. For now, we can only identify as "dark lady" (described as a lady hair and black eyes) that is portrayed in several of his poems.

Shakespeare in his poetry teaches us a strong feature of his personality: he was deeply concerned about the passage of time and its devastating effects, and as we can see, this sonnet is a real example. The poet tries to fight with all his strength against time and its terrible consequences, however, never be a solution to this dilemma. Beautiful words only serve to hide in a hard shell, but there will come a day in which you must get rid of that shell and face the hard truth. Meanwhile, he prefers to live where deception is a small enjoyment.

Shakespeare's Sonnets are written in Italian Renaissance influences, and particularly of Petrarch (s. XIV) and his songbook, set dedicated to his beloved Laura sonnets. But, as so often in Shakespeare, inaugurate a new type of modern lyric poetry.

The theme of the work are love relationships, told in the first person. First, the condition for a beautiful man and then by a married brunette lady. The lady conquers the male, and the narrator suffers for it. It is not known if they were written for the young, women or both; You do not know who those people were, nor whether there were; not even know if they define the feelings of the writer or are simply artistic invention. Regarding the latter, it should be noted that throughout the text details are given, as the name ( "Will") and the profession of actor narrator, pointing to the theory of personality. In any case, perhaps the matter is simpler: as in any literary creation, is part of reality to modify it artistically.

Following much ignorance, scholars have speculated in all directions. It seems clear that the narrator's love for man goes beyond friendship; it is also true that the dedication headed the Sonnets is directed to initial W.H., which are invested BY Wriothesly Henry, Earl of Southampton and patron of Shakespeare, who had devoted Venus and Adonis and The rape of Lucretia. Now the First Folio is dedicated to William Herbert, Earl of Pembroke whose initials match without reverse them. On the other hand, the lady could be Avisa Davenant, the owner of the Inn of the Crown, Oxford. But nothing is known for sure.

In several passages (especially in the sonnets 80 and 86), the author is jealous of a rival poet. It has been as likely to be Christopher Marlowe, who died in 1593.

The first 17 sonnets are addressed to a man, who is urged again and again to procreate to perpetuate their beauty. From 18 to 126, express love for the young man in question, which in 20 the narrator laments that it is a man and not a woman, 36 who can not publicly display their tenderness, and 78 sentence that his beloved is his muse. the lady with the beautiful young man has relations appears in the sonnets 40 to 42; and 57 and 58, the author of his beloved slave is declared. In 66 want to die, because he does not like what surrounds him (art muzzled by the authorities, censuring the foolishness talent and good serving evil); but does not die to not abandon his love.

Sonnet 77 seems isolated from the rest. In it there is talk of a gift of the author to his beloved friend: a notebook; and a clock and a mirror. In the notebook, the young can write what his memory cannot hold; with mirror and check the clock time. 122 shows that the man has also sent gifts to the author.

The sonnets 127 to 154 have verses dealing with the dark lady. 133 and 134 in a complaint appears: the brunette has lovelorn both the reporter and his friend, and has stayed with the friend. The 138 states that his beloved and he was lying (and go to bed, "lie"). 144 (which as 138, appears in The Passionate Pilgrim) makes clear that the character who tells the story has two loves, a good man and a bad woman. In the 152 it is evident that she is married.

The last two sonnets, 153 and 154, have the same allegorical story. When Cupid sleeping, nymphs catch your torch to turn it off in a lake. But instead of destroying love, what they get is that the waters acquire the properties of the torch. This appears in Greek myth in a poem by Martianus or Marciano, Byzantine writer of the fifth century but everything indicates that there is a double-or triple-sense: the healing thermal waters of syphilis, located in the town of Bath (UK) ; and the inability to cure the poet except through the love of the lady.

Love's Labours Lost introduces us to Rosalina (Rosaline), the brown maiden loved by Berowne, which could well be the "dark lady" of the sonnets. One may include Rosalinda (Rosalind), almost exact name, another possible version of the same woman.

Shakespeare's sonnets are wrapped enigmas: they discussed the paternity of the whole, which certainly did not authorize the publication Bard-upon-Avon Straford. The dates of composition are equally uncertain, although many agree that it's early works. The 1609 edition contained an inscription whose meaning is at least versatile. The identities of the characters, to call in some way, they are equally controversial: Who was the young exalted justifying the set of so-called "Fair Youth Sonnets"? Who was the woman who aroused the passion described in the sonnets called "Dark Lady Sonnets"? Who was the contestant who seems to have moved the poet (Shakespeare?) Of his patron preferences ( "Rival Poet Sonnets")? And was the same young patron accepted? In what order should read the sonnets?

During years of translation work and study, one may believe that the interest consecutively collection resided -so what some critics say ménage à trois in a story of two men and a woman; in the fact that the woman was dark and apparently married, as opposed to the idealized women Petrarchan lyrical; it would be possible to reconstruct a sentimental story. Now one may have no doubt about sonnets’ attraction -perhaps instinctively from the start. The spell lies in the language: its tensions, its metaphor, its polysemics and ambiguity, his images, his irony, his music.

CHAPTER III

LOVE, TIME AND ETERNITY IN SHAKESPEAREAN SONNETS

3.1 The Journey to Love

Love is the path of the unknown, is the way to a kind of metaphysical truth, is the way to achieve a higher state of mind. However, it is the individual who decides to take that route, or rather, it is the consciousness of the individual that decides on the route to take. But how exactly goes the path towards love and towards consciousness? Can one love and consciousness be defined ? Even more, can they be understood? When love approaches concrete definitions, it is usually conceived as the ultimate force that liberates the individual from the shackles of the material defects. It is a state of purification where the individual is born unhurt in the new flame of life. Within this purification, there is also a new knowledge that illuminates the perspective of the individual in the physical world. Once knowledge is acquired, it redeems the individual, so that he now has the potential to go beyond love, that is, to transcend it.

However, to transcend the love, the individual must first achieve it; transcend consciousness and thus attain love, which means transcending the force that holds her consciousness: guilt. Consciousness itself is not the oppressing of physical liberty of the individual, in fact, it is the fault that takes possession of consciousness and thus embarrasses the individual. Guilt, product of morality, born in the physical world; therefore on the individual. Guilt gives the individual the goodness or badness of the physical world, but only on a superficial level since reaching deep states of goodness or badness depends on what the individual chooses to achieve. Thus, transcending love implies a difficult task: to overcome guilt; this represents overcome fear to understand a supreme truth. In Shakespeare's Sonnet no. 151, the author meets three fundamental ideas: love, consciousness and guilt in relation to an individual in love. In the sonnet, the hero tries to grasp love and in his attempt to confront the shadows exposed because of their guilt. Even the same fault gives rise to other kinds of faults, which appropriate the consciousness of the individual. At one point, within the universe of doubt and hesitation of the hero, he manages to transcend love with the help of a mystical force that interacts with him at various times in his journey of ascent. The force-the heroine always accompanies the individual, however, the hero must be ready to access it.

What is love but absent from the mind? What is that terrible and at the same time glorious state where the person is absent? Muse takes over the body and only feelings remain. Indeed, the mind leaves the body, but at the same time, there is a kind of knowledge, less physical, which resides in the experience of love. What is it about love that makes us their slaves, prisoners, but that in turn frees us? Shakespeare in sonnet 151 took his pen into the path of guilt and despair, both necessary to achieve love.

Certainly tragic, it is this thing called love, because the individual can never participate in it. Those who do not travel to the depths of love, who are not fully committed to the feeling of love, are tragically alone, because it is a lie to think that someone can exchange or transmit love if that someone has not been 'one' with love. In this way, it really is offered in love, is nothing more than the subjective idea of ​​love. The thing offered to another individual is the desire to give something true, in fact, is the desire to transcend love. In the same way, the individual who wants to transcend the love is in constant conflict with himself because attain love is to confront guilt. In this sense, guilt accompanies the moral consciousness and the latter emerges as a kind of dictator destiny of the individual. The moral conscience pushes us beyond the borders of the doubt. In the case of love, the individual questions the good or bad nature of love; it also question whether to give entirely to love.

Moreover, the individual questions the carnal pleasure: Is it good? or conversely, it is really terrible? Thus, by providing a moral character to goodness or evil in things, rather than treat both aspects as possibilities, it leads to enter the world of doubt, or what is the same, moral or culpable consciousness . Love is beyond reach universal moral consciousness. This act frees the individual from a self-imposed judgment and gives you a kind of close to the 'goodness' knowledge; essential to achieve a higher truth requirement. At the end of the day, this is the ultimate virtue. Ultimately transcend love is how one away and release the chains imposed that feeling to the world. On the other hand, when in the physical world, an individual notice your inner self cannot be duplicated or imitated by the other loved one, the individual in conflict with himself and falls into despair to feel alone. The individual then warns, the tragedy of physical conception of love.

Also, within the physical conception of love, there is a class of mathematical abstraction called "triangulation," which, in very general terms, can be explained through the following example: observing a bird in the sky three factors involved that are firstly, the bird mentioned, second, the perception of the bird and thirdly, the observer of the bird. Being the three aspects connected together, the idea of the bird in the sky goes from a superficial level of understanding to a higher plane of understanding, such as the "triangulation" of the idea. However, in the case of love, often can be no triangulation of it, unless it is transcended. Otherwise, only the individual and the perception of love is, because love itself (the bird), is not there. Those who manage perception triangular love of individual are those who have transcended love and, therefore, are those who have abandoned the guilty conscience and banal reality. These are those who have reached a state of being idealistic, having confronted and transcended morality.

However, this act is never easy, since not everyone has the ability to surrender to a higher truth. Either way, the journey of ascent to love can be even more tragic if this submission is omitted.

In a non-idealistic world, nobody has really transpired and triangulated love because the mind is always present. Similarly, in the non-transpired love, culpable consciousness is also present and until it moves away, the individual will always be found in the perception of love without being able to truly achieve it. Thus, one can mention what must be described as 'a love without substance'. When love is only torment, confusion and guilt, it could be said that this has not been granted a substance; It is not a being but the misconception of being. But at the same time, love itself is not a being because it is the individual who gives this quality. When an individual transcends love is because the individual has been granted the status of 'being' to love. That's when love is life. If the individual does not extend beyond love, this will never have a substance; he never “is”.

In the151st Shakespeare’s sonnet, there is a kind of universal force that hopes to interact with the hero. Interacting with this force, be part of it, involves transcend. Perhaps, once this force is triangulated, it is achieved triangular love and thus transcending being. In the triangulation of this force is, first, the force itself, secondly, interaction and understanding of the strength and finally, be aware beyond itself. Somehow interact with this force is for the hero, surpass himself and surrender completely. Also in sonnet 151, the heroine, who makes the hero transcend love, appears as a kind of goddess of love with supernatural powers and that allows the hero transcend love, that is, reach an idealistic state of mind. It is the myth of the goddess helping the mortal. The hero is one with love, and even though at first love emerges as a selfish state of the body, the hero is able after reaching love in the purest; He purifies the hero of his own selfishness. The heroin, the goddess, is the key to achieve the triangulation of love. It is necessary to meet the love and know the wisdom.

No more universal than the English playwright William Shakespeare writer and so it is clear that the translation of his play was not only possible but exceptionally fruitful, why the translation of his poetry seems to us an exciting task while their study is highly instructive in terms of translation studies. Against the unanimous pessimism of the theoretical to the challenge of poetic translation, pessimism leading to Theodore Savory to sentence: ". The appropriate translation of a poem is really impossible," and no less jaundiced view of our classics at such company (serve shows the maximum Cervantean whereby read poetry in translation is like contemplating the wrong side of a tapestry), other voices are raised, aware of the supreme difficulty of the task and not without making the relevant qualifications, they are willing to lay some groundwork for achieving them. According to this possible position, since the translation is a creative act itself, it can stand on its own merits, and, according to Octavio Paz, one that seeks to translate poetry should be also a poet, since the aim of their work is a poem and not a mere summary of the original work. For Carlos Bousoño, "the vast majority of poetic procedures can be randomly selected in a different language without any of its effect on readers decline. We would say that are essentially translatable ". However, the same Bousoño notes that other poetic elements such as rhythm and rhyme and inherent expressiveness of these two elements (like phonics matter and syntactic structure) that do not lend themselves easily to be inserted into another language without the risk of being rejected and therefore "only through a new poetic work would be pourable transforming to a different language."

3.2 Love and Consciousness

Love goes through the shadows of the physical world. Love, like a real substance, discover the being of the individual and that individual and become one (the importance of love). However, when the journey into love comes to an end when then about transcendence, consciousness emerges as the inhibitor that separates the idea of ​​love of transcendence of love. That's when the journey into love is suddenly shaken. However, consciousness itself is not an inhibitor of love, it only displays the image or photo from individual to individual. Now there is a person born in the individual consciousness clings to power. That force is morality and its shape is to blame. Consequently, in order to transcend the love, the individual must defeat himself and also his own morality to gain access to the image of his consciousness and, from there, reach love. Certainly the strength of morality is very strong because it is created by society which makes it innately for both the individual and his conscience. Thus, guilt, which acts as the conductor of morality, appears causing difficulties in the individual on their journey to attain love. Moreover, as a force that impinges directly on love, guilt, in turn, has three subdivisions: guilt derived from the body, guilt derived from love and guilt derived from the beloved object. First, in relation to the body, guilt tends to be perceived as a purely physical thing related to sin. Morally speaking, the body is seen as the temple of original sin; In this sense, experience love through the body is to fall into sin. But at the same time transcending love it is to be one with it, which means achieving a higher state beyond the original sin where the body then works as an integral connector between love and the individual.

Second, it is to blame in love since the guy who loves may not be enough in love. Culpable consciousness derived from not fully offered to Love, appears as the inquisitor of transcendence. The individual then asks, cheating love? Or is love really hiding something? As a result, doubt, confusion and pain can be easily attracted by the culpable consciousness. Third, it is to blame for the beloved object. Another kind of confusion arising from the culpable if the individual consciousness is also deceive the love, also deceives the object of his affection that loved. The individual raises the question really love myself completely to my loved or also hidden something? Still love as an idea, you can be in the middle of the road as a nuisance or a block between the guy who loves and his beloved. In the end these are the obstacles that the individual has to overcome.

Obstacles are created by lover himself and can come together in a sentence: the individual must defeat his guilty conscience. Somehow, although it seems very difficult to defeat the different sides of the fault, if the individual interacts with these, you may end up handle and thus achieve guilt disappear so that only the consciousness of the individual photographer, stay. Once this act is accomplished, the individual is free to transcend love. After all, should not be such a thing as guilt in love. The truth about love is perceived when it is discovered and not when it is given to him. But, above all, consciousness, photographer, must be transcended previously. While there is only consciousness and the beloved object, the latter will not be achieved.

The Sonnet 151 by William Shakespeare has 14 lines. Among these lines is the theme of love and consciousness in the individual love. It is a dark sonnet in the sense that the author keeps secrets in this that are difficult to discover. An interesting point about the sonnet is the narrator describes the inexplicable love through an explicit point of view and that is the consciousness, which is in the sonnet all the time. On the other hand, in relation to the rhythm, each line moves smoothly as I would venture to say, the Sonata melody of Beethoven's Moonlight, since from the perfect harmony and elevates the reader continues throughout the sonnet. At the same time, there is in a state of ecstasy sonnet or sadness, there is only a subtle feeling of anxiety without many changes. What does change is the understanding of the sonnet because there is much room for confusion and little to capture the intellectual soul of the sonnet. The sonnet begins like this: “Love is too young to know what conscience is”

Love is not to blame because it is a state of mind where the individual 'is'. Love is a kind of state of all where the individual is not connected with a high level of understanding, but the level of experience. In other words, the individual, in this case our hero is and own experience. Therefore, I think that there is no consciousness in love. Love and consciousness are never found. Consciousness is noise and love is silence. There can be no wisdom in silence because silence is only one way to wisdom. Thus, when the author argues that love is very young, he is acknowledging the fact that at the first level, there is no wisdom or understanding in love as there is in consciousness.

“Yet who knows not conscience is born of love?”

It is not a contradiction, since consciousness can, indeed, born of love. However, love is not a substance in itself but it is the individual who gives a substance. When the individual experiences the idea of love as a photographic copy and not as love itself, the individual does not really know love, he then lives in the material world of things. On the contrary, when the individual is aroused by the desire to transcend not only love but also the understanding of things, then consciousness (not guilty) appears and shapes the individual and love. Thus, in the ascent towards love, consciousness, which is a kind of material force has to be transcended to attain love in a pure level.

“Then, gentle cheater, urge not my amiss”, love is a player. A player can be for a cupid side and on the other hand become a trickster. Everything will depend on who owns whom: if the individual possesses love, or if the individual is possessed by love. Apparently, the hero is possessed by love. Still, the hero fights against this state. Thus consciousness has not completely because the blame game remains as part of consciousness.

“Lest guilty of my faults thy sweet self prove”, love makes us guilty. At this point, the hero described as being one with love; as it is being completely dominated by love. The hero has been on that path and is at the same time, disturbed by this. There is thus a contradiction and desire the hero. The desire to fall into that feeling and at the same time, the desire to escape from it. That's fault, that is consciousness.

Thinking that “for, thou betraying me, I do betray” , he betrays, he ignored himself and he also betrays someone else besides himself. While “my nobler part to my gross body’s treason”, he betrays his noblest part, but what is the noblest part? It could be her, her maid, her heroine because the hero is no longer with her. He is dominated by love. At the same time, he betrays love because he is absent from it. Now the hero is in the state of 'he', the hero is one with himself and even love can penetrate that sentiment. The hero is living the desire for love without love. For the hero, love is not present, only the feeling, just the body. Because “My soul doth tell my body that he may”, “Triumph in love; flesh stays no father reason” , the soul and body have become one. Both have transcended love. They are on another level of the individual. In the line "meat remains" could mean that the body is sublimated or transcended the connection between a higher state of non-consciousness and the soul, which is reflected in the material world. That body is related to the flesh, but at this point has been drawn to a higher world of benevolence.

“But, rising at thy name, doth point out thee”, as his triumphant prize, “proud of this pride” , the hero has destroyed love because he understands. He has fallen, he has appointed to love, he knows it. But he recognizes that is rendered to love. In the sonnet, love is proud because it is she and not he who holds the fallen hero. “He is contented thy poor drudge to be,” “To stand in thy affairs, fall by thy side.” Now he talks about his heroine, a future love slave? Because even a goddess can be a slave, as Psyche was Cupid, but it is not intended to be a slave, she is stronger than love and love is not the subject. On the contrary, she holds to love and she is the ultimate love for the hero. She is the real meaning of love. “No want of conscience hold it that I call” “Her love for whose dear love I rise and fall”. There are no more consciousness that hold love as 'she', the lady, heroin, goddess, is the last love. She is the material world of love that pushes it to the immaterial. She has the ability to descend into the world of guilt, pain and tragedy and there, redeem his beloved.

Love is a universal mystery and discover the key to reside in consciousness. Although both love and consciousness are not mutually exclusive, there is a tendency to separate in the physical world and once they are divided, they are lost in ignorance. The fact is, love and consciousness come from the individual, but only consciousness gets grow as a being in itself. At the same time, within this being are other beings such as guilt, which stops the individual from his self-discovery. This guilt keeps away the super individual consciousness and in it, is where the understanding of things begins. This super consciousness is a link between the physical and the metaphysical. Within this consciousness, then the individual's self-discovery begins. Likewise, within this route to reach a higher truth, love is also present but only as a container of consciousness. Consciousness, super consciousness, true consciousness, which photograph the actual situation, acts by itself and has a substance, a being.

However, love gets a substance if the individual transcends consciousness and that is, if the individual transcends himself and all the chains of the physical world. Thus, to achieve transcendence, the individual needs to interact with certain forces that come from within and from the outside world. These forces are universal substances that elevate the individual to higher states, as long as the individual knows how to interact with them. These are higher states that are available once love has been transcended. In Sonnet 151, the hero transcends love to transcend guilt and the guilty conscience. The hero is now beyond good and evil, and can start acting. But it is not the hero who begins to act but a compound of him and love; this compound starts working on a new basis. Love paradise is abandoned because it has already been transcended. Also, the hero has reached a superior understanding of love. He has gone to that place where knowledge resides and now he owns this. Thus, the hero is free and able to return to the physical world with a wider perception of this world. Finally, once the hero understands love, the hero can embrace and truly live it. No more pain, confusion or suffering because love has been known. There can be no conflict in love once this has been transcended. Only in the tears of the physical world lies another kind of love, one more tyrant

3.3 Love and time

Reading the Sonnets claim, as one may observe, the contribution of some theoretical tools developed by Frank Kermode, relatively new tools that will help in reading the Sonnets from a different perspective. Kermode studies on the structural aspect will help us to understand the complex structure of the sonnets, their disposal; It will shed light on the controversy numbering hierarchical order, and help us understand the contradictions that exist between some sonnets.

The examination of the Sonnets of Shakespeare holds a great challenge for the modern reader. The challenge is to sharpen the view and look beyond the characters, the love beyond ideology, beyond the dramatic reading, beyond the biographical reading, beyond the enigmatic dedication. The challenge is to read the Sonnets as a structurally independent work of the rest of the production of Shakespeare, and understand not in relation to the tragedies and comedies but considering the textual construction procedures that form, where lies the literary virtue of this book.

No one who has frequented the English poetry can forget the final couplet Shakespeare Sonnet XVIII. After searching in vain parallels between the beauty of the loved one and a summer day ( "Shall I compare thee to a Summer's day …"), the poet chooses to assert his own verse, poetry itself, as only space where you can forever preserve the beloved, beyond the natural world and, above all, beyond the shadow of death ( "… nor shall death brag thou wander'st in His shade"). It thus comes to the memorable final conclusion.

"So long as men can breathe or eyes can see,

So long lives esta, And This Gives Life to thee. "

The familiarity we have with this couplet can distract us from its meaning. From Petrarch and until today, are infinite poets who have promised immortality to his beloved (in this particular case, his beloved: the implied reader is a man) in a sonnet. But very few have been able to establish the precise limits of that eternity, let alone delineate the precise gesture in which it occurs: in the act of breathing ( "breathe") and look ( "see"). That is, in the activity of a reader absorbs a text and plays, perhaps aloud or perhaps to himself, at the time of reading it. Perhaps also insinuate here the gesture of an actor who absorbs his role and says, reading and repeating it, before giving life on stage. Shakespeare for eternity is thinkable only as language, as spoken words, read, shared.

It is not here, then, metaphysical or Platonism. The final couplet of the sonnet XVIII is devoid of a purely spiritual transcendence, or the idea of ​​immortality broken off of bodily functions. It is no coincidence that this trend (also observable, of course, in several continental poets) is very prevalent in a figure like Shakespeare, a professional of the successful and competitive letters known to operate outside, and even above, religious clashes of his time. What kind of eternity or religious significance believed Shakespeare, if he believed in any? One of the signs of modernity is the fact that this question is, at once, unanswerable and irrelevant to the reading of his work.

Throughout the entire sixteenth century in England, several of the ancient religious dogmas had been undermined and largely replaced. Most of the London public attending performances on the south bank of the Thames in the 1590s, was vaguely believer in a basic and rooted in the Bible Protestantism. But the public had also used through the last few generations, to the questioning of all habits and beliefs, much more than imaginable in a Castilian or Italian context. In those continental frameworks, and despite many episodes of heretical or heterodox turbulence, the official religion had not been questioned or modified in essence, as if it had been in England.

In an exclusively intimate level, it is very possible that William Shakespeare was a Catholic: although we can not say this with any certainty, both its origins family as some recurring elements of his work seem to suggest (some scenic ceremonialism, the ritualization of forgiveness …). But even those elements, when they verbalize, are in the service of the dramatic effectiveness, and never use a religious scene. As regards the immortality of the soul, understood in a traditional sense, theater invokes much as questioned, sometimes within the same work: not surprising, but very significant that Hamlet can doubt the survival of the spirit ( "to be or not to be", etc) within a tragedy in which plays a fundamental role the ghost of his father, who acts as a character. The significance can be said to dramatic level and at the same time, can be questioned existential level. This is possible because the theater and poetry of Shakespeare articulated as a whole, and so well aware, in an entirely secular context: the space of language.

Eternity really matters, in the texts of Shakespeare, being wholly material and language. In his sonnets, as in most of his dramatic work, talking and saying perceived as conditions of all experience, fatally subject to time, but also exist in him and through him. It is an eternity of human and not divine, perhaps modest measure, but that can be recovered whenever the text voice again in our reading, "so long as men can breathe or eyes can see" over and over again, as long as human beings we are made of words.

In the 151st Shakespeare Sonnet, the analysis of love and the journey that the hero takes to reach it arises. The encounter with love is given to the extent that the individual is able to face two underlying issues: guilt and conscience. Guilt born from doubt, entirely abandoned the idea that feeling and surrender. In this regard, to the extent that the individual overcomes his guilt, manages to confront his conscience, that is to say to the dictates of society and from there is routed to journey into love of the purest way.

When love approaches concrete definitions, it is usually conceived as the ultimate force that liberates the individual from the shackles of the material defects. It is a state of purification where the individual is born unhurt in the new flame of life. Within this purification, there is also a new knowledge that illuminates the perspective of the individual in the physical world. Once knowledge is acquired, it redeems the individual, so that he now has the potential to go beyond love, that is, to transcend it. However, to transcend the love, the individual must first achieve it; transcend consciousness and thus attain love, which means transcending the force that holds her consciousness: guilt. Consciousness itself is not the oppressing of physical liberty of the individual, in fact, it is the fault that takes possession of consciousness and thus embarrasses the individual. Guilt, product of morality, born in the physical world; therefore on the individual. Guilt gives the individual the goodness or badness of the physical world, but only on a superficial level since reaching deep states of goodness or badness depends on what the individual chooses to achieve. Thus, transcending love implies a difficult task: to overcome guilt; this represents overcome fear to understand a supreme truth.

In the 151st Shakespeare's Sonnet, the author meets three fundamental ideas: love, consciousness and guilt in relation to an individual in love. In the sonnet, the hero tries to grasp love and in his attempt to confront the shadows exposed because of their guilt. Even the same fault gives rise to otrras kinds of faults, which appropriate the consciousness of the individual. At one point, within the universe of doubt and hesitation of the hero, he manages to transcend love with the help of a mystical force that interacts with him at various times in his journey of ascent. The force-the heroine always accompanies the individual, however, the hero must be ready to access it.

Consciousness and Love are seen through the shadows of the physical world. Love, as a real substance, discover the being of the individual and that individual and become one (the importance of love). However, when the journey into love comes to an end when then about transcendence, consciousness emerges as the inhibitor that separates the idea of ​​love of transcendence of love. That's when the journey into love is suddenly shaken. However, consciousness itself is not an inhibitor of love, it only displays the image or photo from individual to individual. Now there is a person born in the individual consciousness clings to power. That force is morality and its shape is to blame. Consequently, in order to transcend the love, the individual must defeat himself and also his own morality to gain access to the image of his consciousness and, from there, reach love. Certainly the strength of morality is very strong because it is created by society which makes it innately for both the individual and his conscience.

Thus, guilt, which acts as the conductor of morality, appears causing difficulties in the individual on their journey to attain love. Moreover, as a force that impinges directly on love, guilt, in turn, has three subdivisions: guilt derived from the body, guilt derived from love and guilt derived from the beloved object. First, in relation to the body, guilt tends to be perceived as a purely physical thing related to sin. Morally speaking, the body is seen as the temple of original sin; In this sense, experience love through the body is to fall into sin. But at the same time transcending love it is to be one with it, which means achieving a higher state beyond the original sin where the body then works as an integral connector between love and the individual. Second, it is to blame in love since the guy who loves may not be enough in love. Culpable consciousness derived from not fully offered to Love, appears as the inquisitor of transcendence.

As a result, doubt, confusion and pain can be easily attracted by the culpable consciousness. Third, it is to blame for the beloved object. Another kind of confusion arising from the culpable if the individual consciousness is also deceive the love, also deceives the object of his affection that loved. The individual raises the question really love myself completely to my loved or also hidden something? Still love as an idea, you can be in the middle of the road as a nuisance or a block between the guy who loves and his beloved. In the end these are the obstacles that the individual has to overcome. Obstacles are created by himself and that come together in a sentence: the individual must defeat his guilty conscience. Somehow, although it seems very difficult to defeat the different sides of the fault, if the individual interacts with these, you may end up handle and thus achieve guilt disappear so that only the consciousness of the individual photographer, stay. Once this act is accomplished, the individual is free to transcend love. After all, should not be such a thing as guilt in love. The truth about love is perceived when it is discovered and not when it is given to him. But, above all, consciousness, photographer, must be transcended previously. While there is only consciousness and the beloved object, the latter will not be achieved.

3.4 Time and eternity in Shakespeare’s sonnets

The consciousness of temporality raises man on chaos of sensations and subsequent treatment with things to give precisely the key that allows you to overcome the chaos imposed by the immediacy of sense perception. That key is nothing but the power of rational order the temporary succession as the before, during and after, that is, as a past, a present and a future. Obviously, this is a uniquely human power, as the animal reaches not consciously perceive their existence in time, and therefore can not regulate or measure the time course involving the deployment of its own vital acts. Just live, as if their existence proceed in an instant, single, undifferentiated, until things die, precisely because it can not establish a conscious difference between what it is, what it was and what it will be.

The question concerning the time is undoubtedly one of those questions that have accompanied man throughout his existence on Earth. Since the appearance of the first attempts to explain what is the nature and evolution, man has been amazed at the passage of time and the mystery behind his relentlessness. And it could not be otherwise, because in every society, as well as each person, time is a daily experience in the broadest sense of the word, that is, something that happens on a day to day, the quoti dies. All human life is marked and regulated by this primary perception of the passage from one moment to another different, in constant succession, so that only man can be conceived as being in the world because it is known to be in time.

Time passes and eternity remains the same. Eternity is not infinite length of time, it's time. The time includes all time. There was never a time that was not at the time. Nor will be. But there is a connection between time and eternity. If something persists over time, part of eternity. The longer exists in time, the more he imbibes eternity. What continues in time is eternal. Some things are forgotten and being brought back, may or may not be eternal, the eternal must last over time.

With a title like "Time and Eternity", it might seem that this trial is purely speculative, of the same nature as that pun in our time passes for philosophy. Nothing could be further from the truth. In addition, it might seem that while exposure over time could possibly have some practical value, an exhibition about eternity certainly will not be. In fact, it is the contemplation to things eternal which has greater value, and our misguided association to temporal things which have less. This is not to support a kind of non-participation to the issues of our time, but rather see them as what they are and thus bring the long history of human experience to guide our actions.

In human affairs, there is a direct relationship between the seemingly opposite concepts of time and eternity. Eternity, which is sometimes confused with the infinite length of time, really is not extension, but rather the moment, the eternal now. Eternity is always here and now, while time is never here now, but always in the future or in the past.

So the fact that they are in definite relationship to each other is amazing. Obvious way, are related in the sense that eternity divides time into two, ie, separating the past from the future. But for people it is mostly theoretical, because their consciousness is rarely so refined as to experience eternity, instead think about the past or anticipating the future.

But time and eternity are also related to a not so obvious way, and full of meaning. This form of relationship between time and eternity is that the experience of eternity is deeper, ie with longer duration of effects. We can know this, both personally and impersonally; personally in the sense that any experience of eternity can have a huge impact on our lives, and impersonally in the sense that we can study the history and recognize the long-term effects of the experience of eternity in others. The deeper the experience of eternity feels more over time.

Leaving aside for the moment the question of personal experience, to focus the idea that history is a record of the relative survival of what is about the eternal as opposed to what is not.

With the maturity of philosophy and its rational explanations about the universe, the notions of time and eternity acquire greater conceptual precision, especially at the hands of the greatest genius of antiquity, Aristotle. Indeed, the thinker of Stagira was the first to note the close link between movement and time. Based on a careful observation of the natural world, where change, the transformations of the elements and the successive cycles of birth and death seem to have no beginning or end, because everything is cyclically repeated again and again, Aristotle concludes that the time needed to make them such phenomena must exist forever, that is, it must be eternal.

CONCLUSIONS

Although love is the overarching theme of the sonnets, there are three specific underlying themes: the brevity of life, the transience of beauty, and the trappings of desire. The first two of these underlying themes are the focus of the early sonnets addressed to the young man (in particular Sonnets 1-17) where the poet argues that having children to carry on one's beauty is the only way to conquer the ravages of time. In the middle sonnets of the young man sequence the poet tries to immortalize the young man through his own poetry (the most famous examples being Sonnet 18 and Sonnet 55). In the late sonnets of the young man sequence there is a shift to pure love as the solution to mortality (as in Sonnet 116). When choosing a sonnet to analyze it is beneficial to explore the theme as it relates to the sonnets around it. 

Sonnet 127 marks a shift to the third theme and the poet's intense sexual affair with a woman known as the dark lady. The mood of the sonnets in this sequence is dark and love as a sickness is a prominent motif (exemplified in Sonnet 147). Often students will be asked to choose one sonnet addressed to the young man and one addressed to his mistress and analyze the differences in tone, imagery, and theme. Comparing Sonnet 116, with the theme of ideal, healthy love, to Sonnet 147, with the theme of diseased love, would be a great choice.

Love goes through the shadows of the physical world. Love, like a real substance, discover the being of the individual and that individual and become one (the importance of love). However, when the journey into love comes to an end when then about transcendence, consciousness emerges as the inhibitor that separates the idea of ​​love of transcendence of love. That's when the journey into love is suddenly shaken. However, consciousness itself is not an inhibitor of love, it only displays the image or photo from individual to individual. Now there is a person born in the individual consciousness clings to power. That force is morality and its shape is to blame. Consequently, in order to transcend the love, the individual must defeat himself and also his own morality to gain access to the image of his consciousness and, from there, reach love. Certainly the strength of morality is very strong because it is created by society which makes it innately for both the individual and his conscience. Thus, guilt, which acts as the conductor of morality, appears causing difficulties in the individual on their journey to attain love. Moreover, as a force that impinges directly on love, guilt, in turn, has three subdivisions: guilt derived from the body, guilt derived from love and guilt derived from the beloved object. First, in relation to the body, guilt tends to be perceived as a purely physical thing related to sin. Morally speaking, the body is seen as the temple of original sin; In this sense, experience love through the body is to fall into sin. But at the same time transcending love it is to be one with it, which means achieving a higher state beyond the original sin where the body then works as an integral connector between love and the individual

The consciousness of temporality raises man on chaos of sensations and subsequent treatment with things to give precisely the key that allows you to overcome the chaos imposed by the immediacy of sense perception. That key is nothing but the power of rational order the temporary succession as the before, during and after, that is, as a past, a present and a future. Obviously, this is a uniquely human power, as the animal reaches not consciously perceive their existence in time, and therefore can not regulate or measure the time course involving the deployment of its own vital acts. Just live, as if their existence proceed in an instant, single, undifferentiated, until things die, precisely because it can not establish a conscious difference between what it is, what it was and what it will be.

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