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d relatively predictable narrative arc, and it’s this predictability that makes the irony of Shakespeare’s unlinked sequence more pronounced. Moreover, their sonnets maintain an interlinked thematic coherence, with one sonnet naturally progressing to the next, building an overall narrative. 

Chapter Two De-Automatization of Characterization

2.1 The Fair Youth and the Dark Lady

As will be shown in the next chapter, the Fair Youth and the Dark Lady are essentially embodiments of de-automatized concepts of love and sexuality. This is achieved by Shakespeare’s ironic de-automatization of the characterization of these three characters. Both the Fair Youth and the Dark Lady are frequently complimented and criticized in an ironic way that contrasts the automatized foreground. One example is the fact that although the Fair Youth is male, he is portrayed in words that are more traditionally used to depict female beauty.

Sonnet 20 showcases the de-automatized application of conventionally foregrounded elements, typically used to describe the beloved mistress, to portray the Fair Youth in a novel manner. While it may be argued that the poem expresses the poet’s homoerotic feelings openly, it can also be understood as simply conveying deep non-sexual admiration for the Youth, to whom the poet refers as “the master-mistress of my passion”. The youth is praised in ways that are typically applied to the beloved mistress, including an exceptional facial beauty “with Nature’s own hand painted”. Additionally, he possesses a gentle and unwavering heart, bright eyes that have an almost mystical effect on objects by “gilding the object whereupon it gazeth”, as well as a body that appears capable of commanding others due to the excitement it generates. However, the poet acknowledges in this sonnet that the youth’s male anatomy makes any physical consummation impossible, and to engage in a romantic relationship with him would be futile. Therefore, it is argued to be unjustifiable to conclude that the poet is sexually attracted to the Fair Youth despite his profound appreciation of his effeminate beauty. The poet explicitly contrasts the Fair Youth’s constancy against the falsehood of the Dark Lady, which could again suggest admiration for the Youth’s moral qualities rather than sexual interests (Dubrow, 2018: 132). It is evident that the poet’s overly favorable depiction of the youth stems from his love for him; after showering the youth with praises, the poet concludes by promising him “mine be thy love”. The resulting irony in this portrayal is that despite the intense admiration for the Fair Youth, there is a clear acknowledgment of the futility of any romantic relationship. 

2.2 The Rival Poet

In Sonnet 79, Shakespeare de-automatizes from the foreground of the sonnet convention by referencing the Rival Poet, who composes poetry that also praises the Fair Youth but in a way that resembles the conventional style. The speaker argues that the Rival Poet is wrong in ascribing the word “virtue” to their mutual friend. This presents an irony, as the speaker himself has extolled these same qualities earlier. Notably, the reader is only made aware of two words used by the Rival Poet in his praise, “virtue” and “beauty”, which are essential praiseworthy characteristics of a typical beloved lady. On the one hand, the speaker cannot deny the rival’s claim th本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。