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novels. Poem Analyzed by Andrew Walker. B.A. Honors in Professional Writing and Communication (Minor in Historical Studies) A famous Shakespeare quote — bordering on cliché, really — describes parting as being “such sweet sorrow,” because of the happiness associated with knowing a person who is worth missing so bitterly.
Feb 2, 2024 · In the tender twilight of a Verona scene, a phrase was born from the lips of star-crossed lovers that would echo through the ages: “parting is such sweet sorrow.” This poignant oxymoron, crafted by the legendary playwright William Shakespeare in his tragic play “Romeo and Juliet,” encapsulates the heart-wrenching duality of farewells.
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Feb 2, 2024 · In conclusion, Shakespeare’s “parting is such sweet sorrow” endures as a profound expression of the complex emotions we experience during farewells. This timeless oxymoron from “Romeo and Juliet” captures the heartache and joy intertwined in saying goodbye, a sentiment that resonates deeply with anyone who has cherished a moment only ...
Juliet: Sweet, so would I, Yet I should kill thee with much cherishing. Good night, good night! Parting is such sweet sorrow, That I shall say good night till it be morrow. [Exit above] Depending ...
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Teaser
On a shoreline on Vulcan, Sarek sits in meditation while his wife Amanda brings a smoking bowl of incense and sets it in front of him. As the sounds of a beating heart and heavy breathing drown out the crashing of the waves, Sarek's eyes open, his expression stricken. "Michael!" he gasps. 1. "Personal log, Stardate 1051.8. We're in the process of abandoning our ship in order to destroy it. This is actually happening, yet somehow I still can't believe it. Long-range sensors show Control is on...
Act One
In the Enterprise's conference room, Pike asks the crew how they could send the Discovery to the future before Leland caught up to them. Cornwell points out that Gabrielle Burnham's suit was destroyed on Essof IV, and that was the only method they knew of. Saru remarks that Section 31 gave them the data on the suit, and they could attempt to rebuild it. Pike orders him to do so, and set it to his physical specifications. Stamets reminds Pike that the suit was tailored to Gabrielle's DNA, and...
Act Two
On the Discovery's bridge, Tyler is horrified when Burnham and Spock reveal that it would be a one-way trip: to ensure Leland did not get the Sphere's data, Burnham would have to remain in the future – permanently. When Detmer asks where in the future, Burnham explains that, provided she did not get lost in the wormhole, in theory her mother would have returned to her anchor point on Terralysium, and so Burnham hopes she will end up there as well, and as there was no technology on Terralysium...
"Personal log, Stardate 1051.8. We're in the process of abandoning our ship in order to destroy it. This is actually happening, yet somehow I still can't believe it. Long-range sensors show Control...
"Welcome home, captain." "Good to be back. Wish it were under better circumstances." "Don't we all." "All major systems are back online, and we'll have no more holographic communications… ever." "Probably for the best." 1. - Number One, Katrina Cornwell, and Christopher Pike on Pike's return to the Enterprise "Orange. Really? Ugh." 1. - Philippa Ge...
Starring
1. Sonequa Martin-Green as Michael Burnham 2. Doug Jones as Saru 3. Anthony Rapp as Paul Stamets 4. Mary Wiseman as Sylvia Tilly 5. Wilson Cruz as Hugh Culber 6. Shazad Latif as Ash Tyler And 1. Anson Mount as Christopher Pike
Special guest star
1. Michelle Yeoh as Philippa Georgiou
Guest starring
1. Jayne Brook as Katrina Cornwell 2. James Frain as Sarek 3. Yadira Guevara-Prip as Me Hani Ika Hali Ka Po 4. Mia Kirshner as Amanda Grayson 5. Tig Notaro as Jett Reno 6. Ethan Peck as Spock 7. Rebecca Romijn as Una Chin-Riley 8. Sonja Sohn as Gabrielle Burnham 9. Alan van Sprang as Leland (Control) 10. Rachael Ancheril as Nhan
Shakespeare uses the poetic device of alliteration: the ‘s’ sound in such sweet sorrow; and long vowels, to intensify and drag out the words like a musical phrase that plays on the emotions. The sentence contains the puzzle produced by its contradiction.
So the energy and movement, and the sensuality, comes almost entirely from the language: light, sea, falcons (and other birds); cross-rhymes and repetition; the sudden zooms of gaze and imagination. Perhaps this scene is partly a dramatic working out of a sonnet’s intimacy, compression, and dynamism without the sonnet’s formal constraints ...
