otice these alterations at all. The second quatrain compares loves stability to a star fixed in the sky, the star to every wandering bark, / Whos worths unknown, although his height be taken (Ln: 7-8). The third quatrain again shows the consistency of love through imagery concerning the passage of time. With the lines: Love is not times fool, though rosy lips and cheeks/ Within his bending sickles compass come Shakespeare comments on the blindness of this ideal love (Ln: 9-10). Time, although it may be able to fade someones physical appearance, cannot touch love. Love is immortal and unchanging regardless of any effect time would have on ones physical appearance. The couplet changes in tone from the rest of the sonnet. In contrast to the descriptive images used to catalogue the virtues of love, the couplet is a stern straightforward set of words. Sonnet one hundred thirty describes a woman that Shakespeare loves. His descriptions of both this woman, and what he loves about her comply with the standards he has set forth in sonnet one hundred sixteen. It seems as though Shakespeare is almost playing it safe by loving this woman. The cheeks and lips, which are portrayed in the previous sonnet as something, which will fade with time, are not at all the basis of Shakespeares affection. The fact that Shakespeare uses the words: Coral is far more red than her lips red to describe her physical appearance shows that he is not concerned with the level of her outward beauty. Shakespeare lists ideals in physical appearance, which his mistress does not meet throughout the whole sonnet. Still in the couplet he states that his love for this woman is more than anyone else could ever give her. It is a pure love, not in danger of falling to the effects of change or time.Question 2The situations found in the plot of William Shakespeares comedy, A Midsummer Nights Dream reinforce Sir Philip Sidneys definition of what a comedy is. The groups ...
