Sonnet 34 – Sonnet 34 , as you may have noticed, is indicative of several of the preoccupations of the first movement –. in its tone ‘of complaint, its sense of confusion and despondency. its depiction of the beloved as a remote, almost inaccessible figure and in its overall sense of subjugation. It essentially follows the Petrarchan trope, first popularized by Wyatt in his translation of the Italian poet, of the lover as a storm- tossed ship, caught in the grip of his passions. However, Spenser introduces the idea of the beloved as a star that guides him through the seas of life. In storm (or the troubles of life) however, her light is hidden from him by clouds, leaving him to ‘wander now in darknesse and dismay’ (11. 5-7).
Further, unlike the other Elizabethan versions of this trope, Spenser does not attribute the storm to his beloved, implying thereby that it is a storm of unquenched desires; contrarily, he hopes ‘that when this storme is past’, she will shine again as his guiding star (11. 9-12). The Sonnet 34, though apparently diverging from the Petrarchan form in its organization into three quatrains and a couplet, may nevertheless still be split into an octave of two quatrains, and a sestet with a quatrain and a couplet, thematically: the first eight lines present the poet’s current situation of feeling lost in a sea of trouble, without guidance or solace. The first quatrain here lays out the analogy while the second applies it to the speaking subject himself. ‘The next six lines reverse this downward mood, to anticipate release from the ‘perils’ and a renewed access to his beloved. The sestet in turn may be split into the quatrain and the couplet, with the latter returning to touch upon the poet’s sense of grief and anxiety, with which the poem then closes.
यह सोनेट, जो आपने देखा हो सकता है, पहली आंदोलन के कई पहलुओं का संकेत है – अपनी टोन में, शिकायत की, भ्रम और निराशा की