By Jonathan Hart (auth.)
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Extra resources for From Shakespeare to Obama: A Study in Language, Slavery and Place
Example text
The rhyming of “cruel” with “fuel” prompts an inversion and an emphasis that yokes together in close proximity “”Thyself thy foe” with “thy sweet self” and places additional emphasis on “cruel” when the putative ears of the young man hear these words and the reader overhears or “oversees” them. The rhyming of “eyes” and “lies” (I, 5, 7) may well suggest that being betrothed even to the brightest of eyes may be connected with lies, even if this “lies” is a verb describing abundance rather than a noun describing mendacity.
This paraphrase, an impossible art with poetry and perhaps much else, misses the twists and turns of syntax and meter and much else, and does not take into account that the opening is based on an apostrophe or direct address to Clarkson. Part of the reason I have included the paraphrase is to show that the analysis beforehand is necessary to see the way form and content create meaning in Wordsworth’s sonnet, and it partly gives in outline how important determination, feeling and belief were in Clarkson’s struggle with this bloody institution and how his endurance on a personal level benefited all of humankind.
Cadamosto seems to have been begun it in 1463 and completed by 1468, but it was first printed in Paesi in 1507. Its early translations show the circulation of texts at the time: voyage or travel accounts garnered interest. Cadamosto’s text was translated into Latin in Milan and into German in Nuremburg, both in 1508 and into French in Paris in 1515. Cadamosto’s narrative represented Portuguese expansion into Black Africa, a region that was so crucial in the slave trade for Islamic North Africa, for Europe and for the Americas.