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Symbolism: The shadows symbolize ideals and Adonis and Helen symbolize the beauty that doesn't compare to "you".
Allusion: references Helen of Troy and the Judgement of Paris, as well as Adonis to give an idea of the subject's appearance.
Tone: the poem is eulogistic and platonic, as it's praising someone/something's grace and heart.
-born on 26 April, 1564 and died on 23 April, 1616
-third child of eight and eldest surviving son
-lived in Warwickshire, England
-married to Anne Hathaway from 1582-1616 and ha three children
-he lived mostly apart from his wife for twenty years of their marriage
-he bequeathed his second-best bed to her when he died
-wrote 38 plays, 154 sonnets, 2 long narrative poems, and various other works
This compares Spring to shadow as it describes (your) beauty to that of Spring
The abundance of a year's harvest isn't as plentiful or extravagant as you
references Helen of Troy from the Judgement of Paris, and Adonis to give an idea of the subject's appearance
What is your ſubstance,whereof are you made,
That millions of ſtrange ſhaddowes on you tend?
Since euery one,hath euery one,one ſhade,
And you but one,can euery ſhaddow lend:
Deſcribe Adonis and the counterfet,
Is poorely immitated after you,
On Hellens cheeke all art of beautie ſet,
And you in Grecian tires are painted new:
Speake of the ſpring,and foyzon of the yeare,
The one doth ſhaddow of your beautie ſhow,
The other as your bountie doth appeare,
And you in euery bleſſed ſhape we know.
In all externall grace you haue ſome part,
But you like none,none you for conſtant heart.
What is your substance, whereof are you made,
That millions of strange shadows on you tend?
Since every one hath, every one, one shade,
And you but one, can every shadow lend.
Describe Adonis, and the counterfeit
Is poorly imitated after you;
On Helen's cheek all art of beauty set,
And you in Grecian tires are painted new:
Speak of the spring, and foison of the year,
The one doth shadow of your beauty show,
The other as your bounty doth appear;
And you in every blessed shape we know.
In all external grace you have some part,
But you like none, none you, for constant heart.
Begins with questioning the extent to the subject's beauty and perfection, then uses Greek persona, semi colons, and commas to emphasize an appearance, and then ends the first three quatrains stating that the subject of the poem is universally accepted as quintessentially perfect, and whose beauty is emulated by all. Then it ends the poem/couplet describing it having a true heart, or being the basic ideal of worldly beauty.
Caitlin Klotz