In David Keats’ “On the Sonnet, ” he urges other poets not to let their particular poetic wizard, their “Muse” die, since it is confined to the parameters of then-current Petrarchan and Shakespearean sonnet forms. While he follows not form, (thus requiring additional analysis to determine the logic of his poem), his usage of symbolism makes his meaning more than clear.
He starts the composition with a great allusion to Andromeda, “who, according to Greek misconception, was chained to a rock so that she’d be devoured by a sea monster” (Norton 799).
He uses this image to symbolize the destiny of beautifully constructed wording, if it comes after the ineffective form of possibly Petrarchan or Shakespearean sonnets. This photo is pictured in the initially three lines, “If by dull rhymes our English language must be chained, /And just like Andromeda, the sonnet lovely /Fettered, despite pain and loveliness, ” which can be translated as “If our poetry must be enclosed by the current sonnet varieties, and face the fate of Andromeda, despite each of our careful attention…[then…].
The second term of the thought introduced in lines one through three, the implied “then, ” is found in lines 4 through 9. Keats creates, “Let us find, if we must be constrained, /Sandals more interwoven and /To suit the bare foot of Poesy: /Let us inspect the lyre, and consider the stress /Of every chord, and see what may be attained /By hearing industrious, and attention fulfill. ” According to the footnote supplied in Norton, Poesy refers to a need voiced in a notification, in which Keats wrote out their poem after which discussed his “impatience while using traditional Petrarchan and Shakespearean sonnet forms: ‘I have already been endeavoring to discover a better sonnet stanza than we have. ‘”
The word “lyre” can mean “harp, ” yet can also be symbolic for “lyric poetry, ” and “chord” can mean “a string of a musical instrument, like a harp, ” but could also refer to poems, according to the Oxford English Dictionary. With this in mind, lines four through nine may be interpreted to mean, “[if we need to be chained like this], then a few find intricately woven flip flops, (symbolic of recent, undiscovered sonnet forms; Keats’ “need”), to fulfill my require: let’s inspect the harp (symbolic of lyric poetry), and pay attention to every blend (continuing the metaphor of the harp, chords are symbolic of lines within lyric poetry), and let’s find what we may accomplish through careful listening and focus. “
Finally, in the last five lines in the sonnet, Keats directly tackles his other poets while “misers, ” which has a double meaning. In line with the Oxford The english language Dictionary, “misers” means “poets, ” it also means “miserable people. ” This deliberate word juga expresses Keats’ view that poets are miserable, because of the inadequacy of the current sonnet forms. In lines ten through fourteen, he writes, “Misers of sound and syllable, believe it or not /Than Midas of his coinage, i want to be /Jealous of deceased leaves inside the bay-wreath top; /So, if we may not allow Muse become free, /She will be sure with garlands of her own. ” Midas was a king who the power to turn everything that this individual touched in to gold. In accordance to Norton, “jealous” designed “suspiciously watchful. “
Also, in reference to “the bay-wreath top, ” based on the sixth footnote, “The bay tree was sacred to Apollo, god of beautifully constructed wording, and gulf wreaths reached symbolize accurate poetic achievements. The withering of the these types of tree may also be considered an omen of death. ” Keats continued the thought, implying that when the leaves with the bay-wreath crown, which symbolizes “true graceful achievement, ” begin to die, they are a warning of death to this very piece of poetry. Finally “Muse” refers to a poet’s inspiration, which can be killed when it is “bound” by the declining leaves (garland) of the bay-wreath crown, ” which is accomplished by not using one’s Muse to the fullest imaginative potential. These kinds of lines can thus become translated because “Fellow miserable/ frustrated poets, let’s be ‘suspiciously watchful’ of omens of death to our poems; if we do not let our ideas run free of charge, it will expire too. “
John Keats, obviously frustrated by the readily available forms by which to write poetry, expresses his dissatisfaction in his sonnet, “On the Sonnet. ” As they uses an ambiguous, incalculable sonnet kind, instead of the Shakespearean or the Petrarchan sonnet forms, the sincerity of his argument can be not undermined. In this way, not only does he express his hatred for the existing sonnet varieties, but will not use them as he communicates this frustration in his own sonnet.