Sonnet 116

Sonnet 116 is about love in its most saint form. It is praising the glories of lovers who have come to each other freely, and enter into a relationship based on trust and understanding. The first four lines come across the poets pleasure in love that is constant and strong, and will not deepen when it alteration finds. The following lines proclaim that true love is indeed an ever-fixd condition which will survive any crisis. In lines 7-8, the poet claims that we may be pioneer to measure love to some degree, but this does not mean we fully understand it.Loves actual worth cannot be known it remains a mystery. The remaining lines of the third quatrain (9-12), reaffirm the thoroughgoing(a) nature of love that is unshakeable end-to-end time and remains so evn to the edge of doom, or death. In the final couplet, the poet declares that, if he is mistaken about the constant, unmovable nature of perfect love, then he must take back all his literary works on love, truth, and fai th. Moreover, he adds that, if he has in fact judged love inappropriately, no man has ever really loved, in the ideal sense that the poet professes.The enlarge of Sonnet 116 are best described by Tucker Brooke in his acclaimed edition of Shakespeares poems In Sonnet 116 the chief pause in sense is afterwards the twelfth line. Seventy-five per cent of the words are monosyllables only lead contain more syllables than two none belong in any degree to the vocabulary of poetic diction. There is cryptograph recondite, exotic, or metaphysical in the thought. There are three run-on lines, one pair of double-endings.There is nothing to remark about the rhyming draw out the happy blending 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 unrelieved iambic feet. In short, the poet has employed one hundred and ten of the si mplest words in the actors line and the two simplest rhyme-schemes to produce a poem which has about it no unfamiliarity whatever except the strangeness of perfection. (Brooke, 234)