Sonnet 116

praise 116 is more or less adore in its almost ideal form. It is praising the glories of warmthrs who have fall to each other freely, and enter into a relationship based on desire and visiting. The first four lines reveal the poets pleasance in love that is constant and strong, and testament not alter when it alteration finds. The pursuance lines proclaim that true love is thus an ever-fixd mark which will survive whatever crisis. In lines 7-8, the poet claims that we may be sufficient to measure love to some degree, however this does not mean we fully understand it.Loves actual worth cannot be know it remains a mystery. The remaining lines of the unitary-third quatrain (9-12), reaffirm the perfect nature of love that is unshakeable throughout time and remains so evn to the edge of doom, or death. In the final braces, the poet declares that, if he is mistaken well-nigh the constant, unmovable nature of perfect love, consequently he must take derriere all his writ ings on love, truth, and faith. Moreover, he adds that, if he has in fact judged love inappropriately, no man has ever rightfully loved, in the ideal sense that the poet professes.The expatiate of Sonnet 116 are best describe by Tucker Brooke in his acclaimed variation of Shakespeares poems In Sonnet 116 the chief pause in sense is after the twelfth line. seventy-five per cent of the words are monosyllables entirely three contain more syllables than 2 n maven belong in each degree to the vocabulary of poetic diction. at that place is zip fastener recondite, exotic, or metaphysical in the thought. There are three run-on lines, one pair of double-endings.There is vigor to remark about the rhyming object the happy amalgamate of open and closed vowels, and of liquids, nasals, and stops nothing to say about the harmony except to point out how the fluttering accents in the quatrains give place in the couplet to the emphatic march of the almost unmitigated iambic feet. In shor t, the poet has employed one hundred and ten of the simplest words in the language and the two simplest rhyme-schemes to produce a poem which has about it no foreignness whatever except the strangeness of perfection. (Brooke, 234)