![]() ![]() ![]() ” The speaker wants to know something, “tell me, please,” she asks, as if wanting to confirm the aforementioned correspondence is true, that they are indeed “flavored from the same fruit.” The final couplet does not reach confirmation but instead exposes hope and vulnerability, as the speaker asks her “prince of this lockjaw tenderness” to not “let them take it,” and in a yoda-like manner, “to it cling.” The poem becomes personal, as the pronoun “i” appears, relating to Harry through being “spun from the same crushed velvet. The last six lines, however, bring in a more tender, less confident tone. The first two quatrains focus on Harry as manifestation of “masculine postmortem.” It is a joyous read, and remains lightweight through the first half. He is the new millennial, the harbinger of “a new age.” The speaker mentions perhaps a demeaning past, but whatever it may be is beyond the poem’s scope. ” His “ genderfucked florals ” are beyond reproach. He is the “songbird on the new millenium,” the “ lavendered messiah ,” the true “ sign of the times. The main theme is of course Harry himself. The “O”s, the shortened “o’erseas,” the not-so-iambic pentameter, the over-the-top metaphors as in “gatekeepers of sound enraged” for music critics-all come together to give the poem a sharp, witty, and comical tone. The ABAB CDCD EFEF GG rhyme scheme is slant enough not to be easily noticed at first read. Gabrielle Hogan makes fun of flowery Elizabethan language at the same time as she’s using it to her advantage, through humorous statements, exaggeration, and a healthy sense of celebration. What would Shakespeare think of a sonnet about Harry Styles? We think he would love it. Levelheaded: sonnet for harry styles & masculine postmortem ![]()
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