In Thomas Wyatts The Long Love That In My Thought Doth Harbor courtly love is something that should be hidden

although the male lover in the poem does his best to reveal his love--much to his embarrassment. Into my face presseth with bold pretense, And there in campeth, spreading his banner (Wyatt, 594).

The phrase with bold pretense likens the male lovers actions to that of the actions of a warrior who is making an audacious claim and therefore showing off his presence by utilizing the banner. While we see his noble attempt to declare his love, the response is less than desirable because the lady responds disapprovingly. With his hardiness taketh displeasure. Wherewithal unto the hearts forest he fleeth . (Wyatt, 594). Wyatts speaker though dejected promises at the end of the poem to stay faithful to the task of declaring his love openly; he is not going to run from disapproving love.

Although they both hold Petrarch's poem as the origin, they show the difference in the effects of the Neo-Platonism during the Renaissance. The notion that the need for love still existed, but the idea that perfect love could never exist was what basically what drove the entirety of their ideas, and what made them stream from the Petrarchan idea of idealistic love. Both authors while focusing on the idea that love cannot be idealized show in their own depictions two different views of that love. They portray the means of keeping love or holding onto love with two different mind sets and basically help to back up the notion idealized love can not truly exist and cannot be a product of only perfection. The poem by Wyatt refers to the heart as the means of a place in which the love ultimately hides because it is like a forest. Wyatt is pretty much debating whether he should side with love or lust in this case, and ultimately the idea prevails that most likely the speaker chooses.

2. To extract the information it is proper to start with the title, as it overtunes the whole sonnet. The noun "VOW" in the phrase "vow to love faithfully" may realize in the text the following four meanings:

a voluntary promise made to God, or to a saint,

a solemn or formal promise of fidelity or affection,

a firm assertion,

an earnest wish or prayer.( Chamber's)

The context of the word, its combination with the infinitive phrase "to love faithfully" suggests that more than one meaning of the word "vow" has found its way into the title. To understand whether the title suggests a purely religious vow or an amorous one, or a blend of both we shall scrutinize the text of the sonnet.

According to its content the sonnet presents an ardent address of the poet to God where he challenges the Lord: the poet's heart, his soul and his body will belong to the lady of the poet's choice, wherever the Almighty chooses to place him. It is also evident that the extralinguistic information of the text is not limited to its content. The treple opening (lines 1,5,9) "Set me" witnesses of a certain degree of intertextuality: of the structural employment of the biblical famous verse. The content of the sonnet suggests that the biblical verse contributes not only to the structural, but also to the semantic intertextuality of the text. The TEMPERATIVES of the sonnet (longest night, shortest day, in lusty youth, when my hairs are grey) being introduced by the verb of placement SET ME IN may be considered as locatives. Here two alternate phenomena may be witnessed: either the sonnet is a revelation of the medieval concept of time and space as an inseparable category or this sonnet is an example of Surrey's device, where he consciously united time and space, having created thus a sort of lyrical chronotop. The main distinctive feature of the textual space is its coherence. Much has been already noted about the balance of Surrey's sonnet. Now we shall attract the analyses of its AESTHETIC function to sum up the previous discoveries. That means that we are going to consider the category of the beautiful and the ability of the text to bring aesthetic satisfaction. Predominantly, we shall touch upon the objective side of this category that since Aristotle has been considered as the unity of the three constituents: INTEGRITY, HARMONY and CLARITY.

By the term INTEGRITY the wholeness of the text is presupposed. To be beautiful the text should present the accomplished unit. Surrey's sonnet is an accomplished form of fourteen lines. Another demand of integrity is the unity of opposites. As we have already discovered this sonnet is composed of a number of opposites, grammatically linked be the connective "or'. His combination of opposites corresponds to the general Renaissance concept of the universe: the point where the unlimited extremes meet.

The textual harmony (the second component of the category of the beautiful) is nothing else but the logical development of the text. Even the mere words HARMONY and LOGIC share the meaning of "fitting together of parts as to form a connected whole", "the relationship between elements and the whole"[14]. Of all verse forms the sonnet is remarkable for its fixed logic, moving smoothly from the theses to the antitheses and to the syntheses and conclusion. The peculiarity of Surrey's sonnet as of Shakespeare's is that thesis and antitheses follow each other successively with the growing frequency and tension uniting with syntheses with every group of opposite locatives. Due to the inversion and to the effect of the defeated expectancy (HERS WILL I BE- not yours) the conclusion is very categorical. This opening presents a rheme of the sonnet, opposed to a thematic suggestion to God to set a poet anywhere. Thus we may state that the inner logic or cohesion rests upon fixed theme and rheme structure cemented by the two semantic fields of nature and human value. Summing up the analyses we may conclude that the textual space is well balanced and organized in accordance with the purpose of Surrey: in a synthetic form of a vow in a sonnet to challenge God and to express love to the lady of his choice. The Chronotopal space, as it is obvious from the analyses, is also remarkable for a perfect organization of mandala. This space, unlike textual that develops lineally on the surface of the sonnet forms a sort of a sphere. We may presuppose therefore that the main distinctive feature of the textual space (excluding hypertexts) is its surface development, while the main distinctive feature of chronotopal space is its pattern variability, the cement between the two layers being the purpose of writing.

Stella 3. 1. The author opens this first sonnet by explaining his motivation for composing the sonnet sequence. He believes that if his love were to read the sonnets, she would eventually return his affection. He argues that her pleasure in his pain would cause her to read his sonnets, and her reading of the sonnets would allow her to know the extent of his affection, which might make her pity the author's situation-and this pity may transform into grace and love.

The author also describes his difficulties in composing the sonnet sequence. He has struggled to express the pain and misery of his emotions and has tried to look at other poets' works in order to gain inspiration. Still, he has been unsuccessful. Finally, the author has realized that the only way to fully express his love for Stella in his poetry is to write from his heart. Analysis: Sidney's actions of writing about how to compose a love sonnet allow him to do just that: compose a love sonnet. With this in mind, he warns the reader that the emotions expressed in the entire sonnet sequence stem directly from the heart-thus, he cannot be held rationally responsible. The statements in this first sonnet make clear that Sidney (who already can be identified with the author of the love sonnets) is conflicted in his role as a zealous lover and a self-critical poet. This sonnet demonstrates the first of many clashes between reason and passion that appear in the sonnet sequence. He already seems to know that he will never truly win Stella, but he cannot help but desire her. This conflict between contradicting forces is a crucial element of the sequence.

4. Astrophel directs this sonnet to other poets, specifically those who strive to write their sonnets with far-fetched metaphors and florid language. Whether these other poets try to channel imagery from ancient mythology or use the dictionary to find rhymes, Astrophel asserts that they are taking the wrong route in writing. If they need to use these alternative paths, they clearly do not possess the inner love that inspires poetry and, ultimately, they will plagiarize other poets. All that a poet needs for original inspiration, Astrophel declares, is a single look at Stella. Analysis: Sidney also critiques plagiarism and imitation in sonnets 1, 3, and 6. As in the other sonnets, Sidney maintains that inspiration is only lacking in poetry if it does not stem directly from the heart. His muse is Stella, and he does not need to use the methods of other poets (the dictionary, mythological images, and so on) in order to express his true feelings. This sonnet is simultaneously tongue-in-cheek because, although he may not plagiarize, Sidney does utilize classical mythology and florid language in other sonnets in this sequence. 5. 20. In this sonnet, Astrophel describes the process of falling in love with Stella, an action that begins with the poet's first sight of her. He is ambushed by Cupid, hiding in Stella's lovely, black eyes. Through each of Stella's glances toward him, Astrophel is attacked by Cupid's darts. Though he sees the darts coming toward him ("motions of lightning' grace"), he is unable to escape before they pierce his heart. Analysis: Sidney takes the common Renaissance understanding of love (that love is transmitted through the eyes) and redirects the tone via a hunting scene. With his first sight of Stella, Astrophel warns his hunting companions to flee. He dramatizes love as a sort of ambush; he is no longer the hunter, having become the hunted. Yet, this ambush is still playful; Astrophel welcomes the betrayal at the hands of Cupid.

Amoretti Amoretti is an Elizabethan sonnet-cycle, a series of interconnected poems which conventionally trace a man's attempt to woo his beloved, the moment she capitulates to him and returns his love, and his sorrow at somehow losing her again. Spenser's sonnet-cycle divides readily into these three sections: his pursuit of the beloved extends from Sonnet 1 to Sonnet 57. Sonnets 58 through 77 mostly dwell upon the speaker's humility at having won his beloved's heart and his own impatience to consummate the relationship. Sonnets 78 through 89 focus primarily on the speaker's longing for his beloved, who is absent for some reason, while comforting himself with his poetry's ability to immortalize her. The poem ends with three sets of stanzas relating stories about Cupid, son of Venus, after whom the sonnet-cycle is named ("Amoretti" means "little Cupids.") Sonnet 4 Set on the day of the New Year (March 25th by Elizabethan practice), this sonnet draws a comparison between old and new, winter and spring, and death and life. While focusing on the whole worlds change from old to new, in context the poet could easily be setting the stage to kindle his beloveds passion for him to life. 4

Sonnet 10 This is the first sonnet in which the speaker openly criticizes his beloved. Calling her a Tyrannesse, (line 5), the speaker laments the joy she takes in bringing pain to those (particularly himself) who love her. He calls upon the Lord of loue to shake her proud hart (lines 1 and 9), although it is unclear whether he is addressing God or a personification of love, such as Cupid. He prays for a reckoning which will allow him to laugh at her as much as she doth laugh at me & makes my pain her sport

Sonnet 67 Here the speaker turns his earlier images of predator and prey around, describing himself as a huntsman after weary chace having given long pursuit and vaine assay (lilines 1 and 5). His beloved, now a gentle deare (line 7) seeks to quench her thirst at the next brooke (line 8) and, catching sight of the hunter, surrenders herself to him till I in hand her yet halfe trmbling tooke,and with her owne goodwill hir fiyrmely tyde (lines 12-13). He stands amazed at her willing surrender to him, to see a beast so wyld,/so goodly wonne with her owne will beguyld (lines 13 14). He rejoices that she has surrendered to him, but is mystified (and perhaps further pleased) that she has done it not under duress, but of her own free will.