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As we know that Deconstruction by its very nature defies institutionalization in an authoritative definition. The concept was first outlined by Derrida in Of Grammatology where he explored the interplay between language and the construction of meaning.
From this early work, and later works in which he has attempted to explain deconstruction to others, most notably the Letter to a Japanese Friend, it is possible to provide a basic explanation of what deconstruction is commonly understood to mean. Three key features emerge from Derrida’s work as making deconstruction possible. These are, first, the inherent desire to have a centre, or focal point, to structure understanding (logocentrism); second, the reduction of meaning to set definitions that are committed to writing (nothing beyond the text); and, finally, how the reduction of meaning to writing captures opposition within that concept itself (différance).
These three features found the possibility of deconstruction as an on-going process of questioning the accepted basis of meaning. While the concept initially arose in the context of language, it is equally applicable to the study of law. Derrida considered deconstruction to be a ‘problematisation of the foundation of law, morality and politics.’ For him it was both ‘foreseeable and desirable that studies of deconstructive style should culminate in the problematic of law and justice.’ So, lets discuss the deconstructive reading of the Sonnet 18 by Shakespeare :
William Shakespeare ( born date:- 26 April 1564 , Died:- 23 April 1616) needs no introduction to the students of English in general and poetry in particular. Shakespeare published 154 sonnets, and although they are all poems that are of the highest quality, there are some that have entered deeply into the consciousness of our culture to become the most famous Shakespeare sonnets. These most famous sonnets are quoted regularly by people at all levels of modern western life – sometimes without even realising that they are quoting a line from a Shakespeare sonnet.William Shakespeare's Sonnet 18 is justifiably considered one of the most beautiful verses in the English language. The sonnet’s enduring power comes from Shakespeare’s ability to capture the essence of love so clearly and succinctly.
It is traditionally aspects that Shakespeare's sonnet sequence can be divided into three sections : the first expresses the devotion and admiration of the poetic voice (often associated with that of Shakespeare himself) towards an anonymous young man (this would be include sonnet 18); this is followed by a sequence addressed to the dark lady towards whom the poet is attracted; and finally , there are the sonnet which deal with the young man's attraction towards the same lady.
SONNET 18
Shall I compare thee to a summer's day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date:
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimm'd;
And every fair from fair sometime declines,
By chance or nature's changing course untrimm'd;
But thy eternal summer shall not fade
Nor lose possession of that fair thou owest;
Nor shall Death brag thou wander'st in his shade,
When in eternal lines to time thou growest:
So long as men can breathe or eyes can see,
So long lives this and this gives life to thee.
PARAPHRASE
Shall I compare you to a summer's day?
You are more lovely and more constant:
Rough winds shake the beloved buds of May
And summer is far too short:
At times the sun is too hot,
Or often goes behind the clouds;
And everything beautiful sometime will lose its beauty,
By misfortune or by nature's planned out course.
But your youth shall not fade,
Nor will you lose the beauty that you possess;
Nor will death claim you for his own,
Because in my eternal verse you will live forever.
So long as there are people on this earth,
So long will this poem live on, making you immortal.
Sonnet 18, often alternately titled Shall I compare thee to a summer's day?, is one of the best-known of 154 sonnets written by the English playwright and poet William Shakespeare. Part of the Fair Youth sequence (which comprises sonnets 1–126 in the accepted numbering stemming from the first edition in 1609), it is the first of the cycle after the opening sequence now described as the Procreation sonnets. Most scholars now agree that the original subject of the poem, the beloved to whom the poet is writing, is a male, though the poem is commonly used to describe a woman.
In the sonnet, the speaker compares his beloved to the summer season, and argues that his beloved is better. He also states that his beloved will live on forever through the words of the poem. Scholars have found parallels within the poem to Ovid's Tristia and Amores, both of which have love themes. Sonnet 18 is written in the typical Shakespearean sonnet form, having 14 lines of iambic pentameter ending in a rhymed couplet. Detailed exegeses have revealed several double meanings within the poem, giving it a greater depth of interpretation.
The poem starts with a flattering question to the beloved—"Shall I compare thee to a summer's day?" The beloved is both "more lovely and more temperate" than a summer's day. The speaker lists some negative things about summer: it is short—"summer's lease hath all too short a date"—and sometimes the sun is too hot—"Sometime too hot the eye of heaven shines." However, the beloved has beauty that will last forever, unlike the fleeting beauty of a summer's day. By putting his love's beauty into the form of poetry, the poet is preserving it forever. "So long as men can breathe, or eyes can see, So long lives this, and this gives life to thee." The lover's beauty will live on, through the poem which will last as long as it can be read.
The poet never describes anything specific about the beloved. None of the qualities which make the beloved superior to a summer's day are actually possible - remaining eternally young and beautiful and never dying - nor are they inherent in the beloved. They are qualities given to the beloved by the poet through the act of writing the poem and only existing within it.
Sonnet 18 is a typical English or Shakespearean sonnet. It consists of three quatrains followed by a couplet, and has the characteristic rhyme scheme:abab cdcd efef gg. The poem carries the meaning of an Italian or Petrarchan Sonnet. Petrarchan sonnets typically discussed the love and beauty of a beloved, often an unattainable love, but not always.[4] It also contains a volta, or shift in the poem's subject matter, beginning with the third quatrain.
Summary
The speaker opens the poem with a question addressed to the beloved: “Shall I compare thee to a summer’s day?” The next eleven lines are devoted to such a comparison. In line 2, the speaker stipulates what mainly differentiates the young man from the summer’s day: he is “more lovely and more temperate.” Summer’s days tend toward extremes: they are shaken by “rough winds”; in them, the sun (“the eye of heaven”) often shines “too hot,” or too dim. And summer is fleeting: its date is too short, and it leads to the withering of autumn, as “every fair from fair sometime declines.” The final quatrain of the sonnet tells how the beloved differs from the summer in that respect: his beauty will last forever (“Thy eternal summer shall not fade...”) and never die. In the couplet, the speaker explains how the beloved’s beauty will accomplish this feat, and not perish because it is preserved in the poem, which will last forever; it will live “as long as men can breathe or eyes can see.”
Commentary
This sonnet is certainly the most famous in the sequence of Shakespeare’s sonnets; it may be the most famous lyric poem in English. Among Shakespeare’s works, only lines such as “To be or not to be” and “Romeo, Romeo, wherefore art thou Romeo?” are better-known. This is not to say that it is at all the best or most interesting or most beautiful of the sonnets; but the simplicity and loveliness of its praise of the beloved has guaranteed its place.
On the surface, the poem is simply a statement of praise about the beauty of the beloved; summer tends to unpleasant extremes of windiness and heat, but the beloved is always mild and temperate. Summer is incidentally personified as the “eye of heaven” with its “gold complexion”; the imagery throughout is simple and unaffected, with the “darling buds of May” giving way to the “eternal summer”, which the speaker promises the beloved. The language, too, is comparatively unadorned for the sonnets; it is not heavy with alliteration or assonance, and nearly every line is its own self-contained clause—almost every line ends with some punctuation, which effects a pause. Sonnet 18 is the first poem in the sonnets not to explicitly encourage the young man to have children. The “procreation” sequence of the first 17 sonnets ended with the speaker’s realization that the young man might not need children to preserve his beauty; he could also live, the speaker writes at the end of Sonnet 17, “in my rhyme.” Sonnet 18, then, is the first “rhyme”—the speaker’s first attempt to preserve the young man’s beauty for all time. An important theme of the sonnet (as it is an important theme throughout much of the sequence) is the power of the speaker’s poem to defy time and last forever, carrying the beauty of the beloved down to future generations. The beloved’s “eternal summer” shall not fade precisely because it is embodied in the sonnet: “So long as men can breathe or eyes can see,” the speaker writes in the couplet, “So long lives this, and this gives life to thee.”
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