Expressive means of Shakespeare's poetry is unusually rich. They have a lot inherited from the European and English poetic tradition, but many completely new. In Shakespeare's time, originality is often achieved not so much by the novelty of ideological address topics as the search for new means of expression in traditional poetry themes. Shakespeare, however, showed his originality and wealth of new images, made them into poetry, and new interpretations of traditional stories.
He started of using regular for the Renaissance of poetry, poetic symbols. Already by his time, he has accumulated a significant amount of the usual poetic associations. Youth is like spring and dawn, beauty is the charm of flowers, the withering of the human fall, the decrepitude of winter. Sustainable there were also signs of beauty - marble white, Lily tenderness, etc. With images of this nature have been associated mythological associations and the entire set of real or contrived, the fantastic phenomena of nature. Bequeathed to ancient legends.
Shakespeare speaks of a kind of "heraldry" poetic images, and the rivalry of beauty with virtue he defines as a "war Lily and roses". The same circle of poetic symbols we find in the sonnets, describing the beauty of the young nobles, to whom they are dedicated. For example, sonnet 18: "shall I Compare Lee to a summer's day your face?"
The inexorable passage of time and the inevitability of old age like the time of year (sonnet 12).
Has had a significant influence on the poetry of Shakespeare euphemistically style. One of its distinctive features is the poetic play antithetical. However, Lily made her up, she was already in the poetry of Petrarch, but it is likely that for Shakespeare this came through euphuism Lily.
Paying tribute to tradition, Shakespeare went his own way. Besides the usual poetic associations we find his images and comparisons unexpected and at first glance. These are images taken from everyday life, comparison and assimilation of facts, which themselves did not poetic. In sonnet 23, the poet, apologetically, that he is silent and does not find words to Express feelings, likens himself to the actor who's forgotten his role, and this image reminds us of the profession of Shakespeare himself. In the following sonnet (24) he likens their eyes to the painter-engraver, who is on the Board of the heart captures one image of the beloved one. In sonnet 30 the basis of the image is the judicial process: your memory, the poet likens session of the court at which witnesses are called memories, and this procedure recreates the appearance of an absent friend. In sonnet 47 heart and eyes conclude the contract on the most favorable conditions, as we would say now, to put it diplomatically.
The agreement is that when the heart yearns to see the beloved friend, the eyes give him that joy, and when the eyes lack the sight of another heart calls them to the feast and regales memories of how beautiful it is. In sonnet 48 love is compared to a treasure: the poet did not bother to lock him in the casket, and the thief stole it. In sonnet 52 the other version of the same comparison: the poet, like the rich man who keeps the treasures of their feelings in a box and at any time to unlock it to enjoy the spectacle of the stored jewelry. In sonnet 74 death is likened to the arrest from which she cannot escape in any way - no purchase, no Deposit, no respite.
Perhaps the most unexpected of prosaicness the image on which it is built sonnet 143: when the mistress runs one of the poultry, she lowers to the ground the child that was holding, and begins to catch the fugitive, baby's crying and begging on hands; the poet likens himself to an abandoned and crying baby, and his beloved, who is chasing fleeing from her hope for a different, more happiness, compares with a peasant, catching poultry.
Shakespeare expands on the topics of poetry, enters into her imagery from different spheres of life and thereby enriching traditional forms of verse. Over time the poetry of Shakespeare increasingly lost its conventionality and artificiality of approaching life, and we especially see it in the metaphorical richness of his sonnets.
Many of the sonnets are either a chain of metaphors, as in the just quoted poem, where the poet likens himself first autumn forest, then twilight and finally the dying fire, or a detailed metaphor.
Many images arising in each sonnet, soldered internal unity. What is it achieved? The fusion of idea and image. The Italians called it the word, the British "conceit", and the literal Russian compliance with the term - "concept". The concept of this is art. The essence of it is that the thought, feeling, mood, subtle and elusive spiritual movement are expressed through concrete and visible, and then it turns out that between the spiritual and the material world there are an infinite number of analogies. In the poems, built on conventional poetic symbols.