The narrator's fears about death and change intersect with his thoughts about love most vividly in Sonnet 116, which defines true love as eternal and unchanging, "an ever-fixed mark / That looks on tempests and is never shaken. But when attention turns to her, it is not to assert the normality of heterosexual romance.
There is also a female lover in the sonnets, the focus of a secondary relationship treated in many of the last twenty-eight sonnets ( 127 54). It is popularly known as Tottel’s Miscellany after the. Tottel’s Miscellany is a landmark of lyrical poems, Songs and Sonnets was published. The period from 1550 to 1580 is the formative and imitative period of Elizabethan poetry. In Sonnet 55, the narrator declares, "Not marble nor the gilded / Of princes shall outlive this pow'rful rhyme," suggesting that by preserving his friend's memory in timeless verse, the poet may also gain immortality for himself. Shakespeare transforms the conventional sonnet story by making his beloved a he. The Elizabethan period, particularly the period from 1580 to 1603, is the golden age of the Renaissance.
Other poems, such as the famous Sonnet 18, "Shall I Compare Thee to a Summer's Day?" promise to immortalise the friend's beauty and virtue in words. In the first 17 sonnets, he urges his young friend to marry and have children so that his beauty will be preserved in his descendants. This structure controls and gives meaning to particular sonnets and to the discrete Petrarchan motifs on which criticism has long focused. The poet considers several ways to escape the clutches of "Devouring Time," as he calls it in Sonnet 19. Elizabethan sonnets are written in iambic pentameter and consist of 14 lines, often divided into three quatrains and a couplet. The major English renaissance sonnet sequences of Sidney, Spenser, Shakespeare, and Milton share with the minor ones of Watson, Barnes, Drayton, Daniel, and others a characteristic overall structure.
Change generally appears as a destructive force in the sonnets. Another major theme in the sequence is mutability, or change, a subject that fascinated many Elizabethan writers.
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