Summary

The website content discusses how Shakespeare's Sonnet 7 demonstrates a method of storytelling through the metaphor of the sun's journey, emphasizing the importance of a clear main character, a structured build-up, and a surprising twist.

Abstract

In an exploration of Shakespeare's Sonnet 7, the article highlights the Bard's narrative technique, which contrasts with the disjointed approach of postmodern poetry. Shakespeare's sonnet is likened to a painting, with the sun serving as the main character, illustrating its rise and fall throughout the day. The analysis focuses on three key aspects: the clear identification of the sun as the central figure, the gradual build-up of the narrative as the sun ascends, and the unexpected shift in tone as the sun sets. This structure serves as a lesson for speakers and writers on how to captivate an audience by employing simplicity, elegance, and a well-placed volta, or turn in the narrative.

Opinions

The author suggests that Shakespeare's method of storytelling is more effective than postmodern poetry's nonlinear approach, offering a more coherent and engaging experience.
Shakespeare's use of the sun as a metaphor for a person in their prime is seen as a powerful literary device, which may have been inspired by biblical references such as Psalm 19.
The article posits that the sonnet's structure, with its clear main character and narrative arc, provides a valuable template for creating impactful speeches and writing.
The author emphasizes that a good painting, like a well-crafted piece of writing, does not require an abundance of elements to convey its message effectively.
The article concludes that placing a surprise or suspense at the right moment in a narrative, akin to the volta in Sonnet 7, is crucial for maintaining the audience's attention.
The author encourages readers to consider the power of simplicity and the strategic use of a narrative's high point in their own creative endeavors.

How to Draw a Picture as You Tell a Story — What Sonnet 7 by Shakespeare Teaches Us.

Postmodern poets have a way of juxtaposing thoughts from everywhere.

They jump from one place to another like quantum leaps.

Instead, Shakespeare glides.

In this sonnet, he draws one brushstroke with orange.

He draws that picture while telling a story.

Maybe you’re a public speaker, honing your craft of capturing the audience’s attention.

Or perhaps you write often, and wonder how to write more simply and memorably.

Here’s a simple piece from Shakespeare we can learn his craft from:

“Lo! in the orient when the gracious light Lifts up his burning head, each under eye Doth homage to his new-appearing sight, Serving with looks his sacred majesty;

And having climb’d the steep-up heavenly hill, Resembling strong youth in his middle age, yet mortal looks adore his beauty still, Attending on his golden pilgrimage;

But when from highmost pitch, with weary car, Like feeble age, he reeleth from the day, The eyes, ‘fore duteous, now converted are From his low tract and look another way:

So thou, thyself out-going in thy noon, Unlook’d on diest, unless thou get a son.”

My translation:

“Look! In the east when the gracious sun Lifts up his burning head, each person’s eyes Render homage to its approaching, Serving its majesty with their looks;

And having climbed the steep hill leading to the sky, Resembling a strong young man in his prime, Mortals still look upon its beauty, going on his golden pilgrimage.

But when the sun, from its highest point, with its weary carriage, Like an old man, reels from after midday, The crowd’s eyes, before dutifully looking, now divert away From his low course and look elsewhere.

So you also, going downhill from your prime of life, Will die unnoticed, unless you leave a son.

Let’s notice three things.

1. Clear Main Character — The Sun

Shakespeare starts off clearly by stating his main character, the sun. The ‘burning head’, the ‘gracious light’.

Shakespeare uses the sun as describing someone in their prime. For example, Sonnet 33:

“ Even so my sun one early morn did shine With all-triumphant splendour on my brow; But out, alack! he was but one hour mine; The region cloud hath mask’d him from me now.”

There the author compared his lover to the sun, whose favour he enjoyed for a short while.

Shakespeare may have got his idea from Psalm 19, in describing the sun as a person:

“In the heavens God has pitched a tent for the sun. It is like a bridegroom coming out of his chamber, like a champion rejoicing to run his course. It rises at one end of the heavens and makes its circuit to the other; nothing is deprived of its warmth.”

This talks about creation in the first instance. However, it also refers to revelation, God revealing himself who he is.

Ultimately, this revelation is in the person of the son of God, revealing himself as he enters the world.

So by describing the youth as the sun, Shakespeare seemed to have understood that the sun can be used for a person.

He lays the brush on the canvas, dipped in orange, ready to draw.

He leaves us in no doubt who the main character is.

That’s something we can imitate in our speeches and writing.

2. How to Build Up — The Sun Rises

Shakespeare starts with ‘new-appearing sight’ in line 3. The ‘sun’’ climbs the steep hill (line 5), people were still admiring his stature (line 7), and the man is still walking upwards in a ‘golden’ trail. (Because the sun is ‘gold’ — and the young man is also in his ‘golden’ days.)

Shakespeare brings the reader into the scene as if we were one of those admiring the youth.

He moves the sun forward in time and in space.

Shakespeare mentions only a few things, but a good painting doesn’t need many things.

I mentioned at the start that postmodern poems switch from one thing to another in disconnected ideas. But here is a line going upwards. He traces the man’s trail, and there are people, and there’s the sun. Simple and elegant.

Shakespeare moves his brush, soaked in orange, upwards.

In our speeches and writing, we can proceed simply, like the course of the sun.

And then there’s the fall:

3. The Surprise — The Volte-face

Line 9 is traditionally a volta in a Shakespearean sonnet. It changes the whole mood of the poem. The ‘But’ is evidence of this.

Suddenly, the strong man ‘reels’, instead of climbing with mighty strides.

He used to resemble a youth in ‘middle age’. Now he resembles a man in ‘feeble’ age.

And what do people do?

Before, they looked at him with admiration. Now they look another way.

In our speeches and texts, have we considered where the high point is? Where can we place the suspense? Have we given enough time for it?

When in doubt, less is more.

Or maybe pick up painting.