International Journal of English and Literature (IJEL) ISSN 2249-6912 Vol.3, Issue 1, Mar 2013, 103-116 TJPRC Pvt.

. Ltd.

THE IMPACT OF NON VERBAL AESTHETIC ELEMENTS AND SIGNS IN SHAKESPEARE'S SONNET 29
TENGKU SEPORA TENGKU MAHADI 1& SEPIDEH MOGHADDAS JAFARI2
1

Associate Professor, School of Languages, Literacies and Translation, Universiti Sains Malaysia, Penang, Malaysia
2

PhD student, School of Languages, Literacies and Translation, Universiti Sains Malaysia, Penang, Malaysia

ABSTRACT
Language is a very complex phenomenon and posses innumerable potentialities, one of which being its ordinary communicativeness with which every one deals. But there are in language thousands of other potentialities often left untouched, which may be sometimes discovered by accident, but most of the time by the poet's knowledge and experience (Shafi'i Kadkani, 1989, p.264). The aim of this study is to investigate the impact and effect of non-verbal aesthetic elements and signs in Shakespeare's sonnet 29. To reach the aim of this study, some theories which can be related to the objectives are introduced and explained. The corpus of this study comprises sonnet 29, one of the most famous poems from the most well-known poet of West i.e. Shakespeare. It is concluded that the non-verbal aesthetic elements and signs as the repeated sounds which make the music of poetry are very momentous and significant in terms of imagery and construction of meaning in Shakespeare's sonnet 29. The results also show the significance of these aesthetic elements in the context of understanding and translation of sonnet 29. The translator, therefore, must be sensitive to the non-verbal aesthetic elements and signs, or better to say, the sounds of this sonnet.

KEYWORDS: Aesthetic Elements and Signs, Non Verbal, Shakespeare, Sonnet 29 INTRODUCTION
Language is the medium of poetry--indeed of all literature. Outside of poetry men communicate with each other by verbal as well as nonverbal devices; definitely and without a doubt, language is one of the media for communication. In poetry, however, communication takes place exclusively and solely through language. Although the nature of the poet's communicative act may differ extensively from that of the other human beings. Also the type of information we get from poetry may seem quite bizarre in contrast to the information we get in ordinary communicative acts. However, it is just through language that poetry comes into being. To express the relation between the two, one may note Ronald Barthes' essay, "Science Versus Literature" and his remark that "Language is Litereture's Being. Its very world." (Newton, ed., 1991, p.140) But the case is not so simple as we may often think. Being an art, poetry uses language as an artistic medium; and the artistry of poetry lies in its way of treating language. No doubt, of course, that every poet is a member of a speechcommunity and the language he uses is also used by other members, human beings who understand each other's speech and communicate their own needs through speech. Both when speaking and writing, they choose the available items of the language of their speech-community.

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Moreover, one must undoubtedly accept the fact that language is a very complex phenomenon and posses innumerable potentialities, one of which being its ordinary communicativeness with which every one deals. But there are in language thousands of other potentialities often left untouched, which may be sometimes discovered by accident, but most of the time by the poet's knowledge and experience (Shafi'i Kadkani, 1989, p.264). This is because the poet chooses and manipulates the constituents of language with greater care and complexity than the average member of his speechcommunity can or wishes to exercise. Along with that, because the poet makes use of all the resources of language most fully and most precisely, he makes something different out of the so-called ordinary language. Regarding the above points, it should be mentioned that one of the most important constituents of poetry is image. Based on the dictionary definitions, the word image literally implies the mental portrayal, illustration, and demonstration of what we perceive by our peripheral organs. In effect, an image is a language that addresses the senses (Meyer, 1999, p. 752). Image plays a very significant role in poetry. Image(s) presents the pictures of the ones happenstance(s) with the world. Concerning the very important role of image in poetry, Anne Sexton (Kirszner and Mandell, 1997, p. 743) believes that Images are probably the most important part of the poem If theyre not coming, Im not even writing a poem, its pointless. However, the image(s) make poems complex as well as subjective. As scholars and literary translators believe, among all literary types and genres, the translation of poetry is the most difficult and complicated, and most of the time even impossible, due to its aesthetic signs and features. In reality, one of the most significant stipulations and forms observed and scrutinized in translation is aesthetic consequence. This aspect of significance, indeed, is put in to a text by literary forms employed in it such as a set of phonological (rhyming, meter, etc.), structural and semantic (symbols, signs, metaphors, irony and so on.). The meaning in literary texts is constructed and formed by the dealings and relations of both the linguistic regulations and literary patterns. Another point worth mentioning regarding poetry is the existence of the non verbal aspects. On the whole, nonverbal aspects are defined and categorized as the paralinguistic aspects. Poetry and translation of poetry are classified and labeled by non-verbal aspects like sound, beat, cadence, rhythm, and rhymes which make it become specific in nature (kochol, 1970; Golden, 1997). Thus, poetry has a specific nature since it focuses on paralinguistic aspects that must be understood and treated as is read. Generally speaking, non-verbal communication is the course or method of communicating through sending and receiving wordless messages. In other words, non-verbal communication comprises physical behaviours and techniques of communication such as: tone of the voice, touch, smell, body motion, and so on. Similarly, creative and aesthetic non-verbal communication embraces or covers singing, music, dancing, and sculpturing. Symbols and sign language are also classified as non-verbal communication (hptt://www.Buzzel.com.mhtml), and (http://en.wikisource.org). Speech may also contain non-vernal elements which are called paralanguage, including voice quality, emotion and speaking style (http://en.Wikipedia.org/wiki/Communication). The sum of the above explanations leads us to the conclusion that the non-verbal aesthetic in poetry refers to the music of poetry. Accordingly, it should be mentioned that in this research/study, the term non-verbal aesthetic elements and signs mostly refers to the music in poetry created by the repetition of the sounds. Generally speaking, literary texts have diverse and specific kinds of genres such as poetry, drama, short story and novel. Poetry and translation of poetry are distinguished, differentiated and exemplified by non verbal characteristics like

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sound, beat, cadence, rhythm, meters and rhymes, which make it become particular and specific in nature (Kochol, 1970; and Golden, 1997). Like poetry, drama and translation of drama have a specific nature. That is to say, they focus on paralinguistic aspects that must be understood and treated as performed and the inconsistency or complexity between written and performed texts (El-Shiyab, 1997) and (Basnett-McGuire, 1980; 1985; 1991; 2002). Golden (1997) views the origin of poetry as melody and song; in the sense that, poetry initially was implemented and carried out in the oral form. With respect to this point, he further insists that as far as poetry is concerned, non - verbal features like sound, beat, cadence and rhyme are more imperative and significant than semantic, pragmatic and stylistic features. Therefore, in order to give the more correct and accurate translation of poem, the translator must be more thoughtful and attentive with the nonverbal features (ibid). In addition, Miko (1970) believes that linguistic and literary theory share translation theory among themselves. Nevertheless, the problem which all the time exists is that the uniqueness and characteristics of the value created and provided by translation is virtually demanding, difficult and problematic since it counts on the translators style. As a result, for him, the problems that always appear in literary translation are either linguistic or stylistic. Consequently, an incredibly significant problem concerning the poetic and poetry translation is the differences which exist in translations. In this sense, Sarhady (1995) maintains that the most important and decisive stipulation which is detected, noticed and identified in poetic translation is the aesthetic consequence of the poem. Technically put, the aspects of meaning inserted and attached to a text as a result of literary patterns used in it, for instance, phonological (rhyming, meter, etc.), structural (parallelisms, marked patterns, etc.), and semantic (symbols, metaphors, irony, etc.) and so on. He (ibid), further considers the problems of poetry translation in accordance with these aspects. Correspondingly, pertaining to the translation of poetry, as Richard (2001) says, the main problems, difficulties and arguments appear when the translator understands to what extent the spirit and more precisely, the real meaning of a poem lies. In poetry translation, indeed, the translator strives to pass on and transmit the message as complete as possible. As a result, he employs a method in which he is competent to keep and conserve the original in the translation in so far as possible. Nevertheless, the beauties and aesthetic aspects of the poetic images are not taken into account. Poems are commonly famous and eminent for their condition and characteristic which deal with imagery, word association, and the musical qualities of the language used. Due to its nature of highlighting and drawing attention to linguistic form rather than entirely using language for its meaning, poetry is difficult to be rendered from one language into another. In poetry, indeed, it is the connotations of words, elements and signs which are more important. These particular aspects of meaning which mostly exist in poetry can be difficult to comprehend and understand and consequently, may make different interpretations by different readers. That is to say, every line of a poem can be deduced and comprehended in a different way by different readers. In other words, as Simpson and Weiner (1989) put it, while there are sensible and logical explanations, there can never be an ultimate and perfect understanding and version. With regard to these problems relating to non verbal aesthetic elements and signs in poetry, there is scarce research to prove how significant and influential these aesthetic signs are in the content of poetry in general and Shakespeare's sonnet 29 in particular, and yet not much has been done to show lecturers and translators the role of non verbal aesthetic signs in imagery and meaning formation in poetry. Therefore, understanding the effect and role of non verbal aesthetic aspects provides a more comprehensive picture of their function in sonnet 29 which can help and guide translators to better, more effective and accurate translations. It can also help lecturers, teachers and institutional managers to better tailor their course syllabi and

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incorporate the non verbal aesthetic signs with regard to their functions and roles in imagery and meaning formation in the mentioned poem as part of requirement in their curriculum to provide effective translation and literature classes to students. By doing so, translators, lecturers and teachers will be familiar with the non-verbal aesthetic elements and signs, as well as their effects and roles in the context of Shakespeare's sonnet 29 and its translation. Thus, this research is aimed to identify the role of non-verbal aesthetic elements and signs in imagery and meaning formation in Shakespeare's Sonnet 29. In other words, This study aims to investigate the imagery and meaning formation with regard to sounds, speech segments and other aesthetic items in Shakespeare's sonnet 29. Therefore, the contents of this study which will be prepared according to a particular type of literary genre, the poetry has been set to produce findings that will be deduced from primary data by the analysis of the texts via the main ideas and theories. It is hoped that the findings of this study would provide useful information to translators, researchers, translation, literature, and linguistic lecturers and teachers and ministries of education in different countries who wish to have more effective translations and thereby more successful translators.

LAMBERT AND VAN GORPS SYSTEM THEORY

According to Lambert and Van Gorp (1985) who have produced a system theory to manipulate macro and microstructures in Descriptive Studies, a preliminary data must precede any textual analysis. This preliminary data, consequently, would investigate whether the text fulfils the requirements of a translation or not. The hypotheses about macro and microstructures must be led by these results. Hypotheses about microstructures would have to be resulted from the analysis of macrostructures and the results should give more information about the systematic interaction. Meanwhile, the relation and comparison of the macrostructures and the microstructures and their effect on other texts and genres would be the last step of the theory. Macrostructures The concept of macrostructure was brought into use in text linguistics, for the first time, by van Dijk. It is about the global semantic and pragmatic structure of a text. The macrostructure of a text, which includes phonological, graphological, and lexicogrammatical patterning, refers to the largest scale patterns, which are the means whereby texts can be classified into different text types, such as narrative, exposition, lyric poem, and so on (Routledge Dictionary of Language and Linguistics, 1996). In other words, macrostructure deals with analyzing and describing of rhetorical organizations of texts, and it relates, moreover, to patterns beyond sentence level. On the other hand, of course, by calling the term macrostructure as a large-scale statement of the texts context, it is meant that the occurring of a text must be commenced with a main idea or a main picture in mind as a whole, which gradually develops into precise and particular meanings that exist within any individual sentence. Incidentally, the summary of a text has to be based on the macrostructure of that text, to use Van Dijks terms (The Linguistic Encyclopedia, 1991, 2002, 2009, p. 542). Van Dijk (1981, pp. 84-89) believes that the macrostructures refer to the global level of semantic representation. He calls it a theoretical construct, consisting of hierarchical structure of propositions. Furthermore, according to him, textual coherence and meaningful discourse cannot be found out without a world knowledge of the connection and relations between macrostructures and micro-structures (ibid, p. 5). Regarding the function of language and poetics, Jakobson (2004, pp. 350-359) believes that poetics is a form of language whose function can only be understood in the context of a general theory of communication. This indicates that the factor making his a verbal message a work of art is its macrostructures relative to the constructive factors in any act of

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communication. The constructive factors are (a) context (reference), (b) addresses (emotive), (c) addresses (co native), (d) contact (phatic), (e) code (metalanguage), and (f) the message as such (poetic). He asserts that those factors are the most important factors to be studied in any message. Halliday (1978, pp. 132-145), however, calls a text a semantic concept which is realized of (a) semiotic structures (context of situation) in the higher level, and (b) linguistic systems in the lower level. He distinguishes a text from nontext claiming that the former can be identified by three major factors of: genetic or semiotic structures, textual structure (thematic and emotion), and cohesion. The generic or semiotic structures which are often in the company of the context of situation of a text exist outside the linguistic system. In fact, they are unified, interconnected and are concepts of register: field (type of social action), tenor (role relationships), and mode (symbolic organization). Therefore, a text is a semantic unit (Halliday and Hasan, 1976), relevant to the situation in which it is used. In other words, a text is a continuum of meaning-in-context (p. 25). With regard to what was discussed relating to macrostructure, therefore, it can be inferred and recapitulated that macrostructure is the underlying structure in text linguistics and discourse analysis. Microstructures Microstructures deal with a linguistic analysis of texts in proportion to lexis and syntax. In fact, they are surface structures of texts which pilot us to reach or achieve the macrostructures. Thus, they, macro and microstructure, come together in a reciprocal relationship. In other words, they are separate but are related subjects as a unique group which affect each other. Technically put, microstructures are connections between sentences, syntax of phrasal and interphrasal connectors, and level of the text signifiers and their meanings (Van Dijk, 1980; 1988). In the case of microstructures, Halliday (1978) defines them as the low level of the text parts that lead us to the comprehension of the higher level of the text, which are macrostructures. Microstructures, therefore, are existing features within the passage forming the surface structure of the text. In this article, the microstructures of the poem (sonnet 29) will be analyzed, compared and contrasted with their equivalences (if any) which they stand for and signify.

METHODOLOGY
This study involves the use of a specific method: qualitative analysis of the poem by the researcher.

Text Analysis Method (Qualitative Analysis of Poems)

Data Analysis This section discusses how the data from the sources will be analyzed according to the method(s) used in this study. In fact, Yin (1994, p. 102) states that data analysis is the process of examining, categorizing, tabulating or recombining the evidence to address the initial propositions of a study. The processes of data analysis for this study are as follows: The analysis will be carried on an English text. All the text will be analyzed in terms of its macrostructures, microstructures, and context. That is to say, the analysis will start from the macrostructures of the poem. Then, it will be carried out on the microstructures. Afterward, it will be done on the non verbal textual intrinsic elements and signs and their relations and associations. Finally, the findings will be discussed.

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More precisely, in analyzing procedure, the researcher as a poet and translator will read the whole poem in general and each line in the poem in particular carefully and estimates and writes the images and senses which come to her mind while reading them. Consequently, the researcher will read the poem and will analyze it line by line in terms of repetition of sounds that may inspire and induce specific senses, connotations and images in her mind. In fact, the methodology of this research comprises the analysis of the whole of the poem sound by sound, and step by step. That is to say, each line in the poem will be analyzed sound by sound and step by step. The following part involves two divisions; at the outset, the poem is analyzed and discussed in terms of macrostructures. Then, it will be analyzed and discussed in terms of the micro-structures with the main focus on the nonverbal aesthetic elements and signs. To be more precise, the images and senses appeared/ing in the researcher's mind by reading them are discussed. It was the complete description and explanation of the relevant issues for this research. In the next part of the article, the analysis and discussion about sonnet 29 is offered by the researcher.

ANALYSIS AND DISCUSSIONS

In the previous part of the article, the theoretical framework, corpus, and methodology of the study were introduced. In the current section, we are mainly concerned with the aesthetic aspects of the selected poem in general and its non-verbal aesthetic elements and signs in particular. This section, indeed, focuses on the analysis of the one of the most famous Shakespeare's sonnets, sonnet 29, with emphasis on the non-verbal aesthetic elements and signs in his poem. As stated in previous parts, the main purpose of this study is to investigate the role and impact of repeated sounds as the non-verbal aesthetic elements and signs in the poem. Sonnet 29 When, in disgrace with fortune and men's eyes, I all alone beweep my outcast state And trouble deaf heaven with my bootless cries And look upon myself and curse my fate, Wishing me like to one more rich in hope, Featured like him, like him with friends possess'd, Desiring this man's art and that man's scope, With what I most enjoy contented least; Yet in these thoughts myself almost despising, Haply I think on thee, and then my state, Like to the lark at break of day arising From sullen earth, sings hymns at heaven's gate; For thy sweet love remember'd such wealth brings That then I scorn to change my state with kings. Summary While I am abandoned and ignored by fortune and the world and cry over my desolation and depression, I am envious and jealous of the contributions and gifts given to other men. All at once and at the same time, I imagine and

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remember you and my distress, sadness, and grief turn to pleasure and ecstasy. Remembering your love makes me feel so abundantly blessed that I would not replace or change my position for a king's. Paraphrase 1. 2. 3. 4. 5. 6. 7. 8. 9. When I am in trouble with fortune and men, All alone I weep for my position as a social outsider, And pray to dreamland, but my cries are useless, And I look at myself, blaming my destiny and fortune, Wishing I were similar to one who had more hope, Wishing I looked like him; wishing I were enclosed and encircled by friends, Wishing I had this man's proficiency and that man's self-determination and liberty. I am least happy and satisfied with what I used to enjoy most. While, with these thoughts almost looking down on myself,

10. I, accidently and unconsciously, bring to mind and imagine you and then my condition 11. Like the lark at the break of day, rises 12. From the dark earth and (I) sing songs to heaven; 13. For imagining and remembering your love creates such pleasure and joy 14. That then I would not change my place, location, or condition in life with kings. Commentary 1. 2. 3. 4. 5. 6. 7. 8. When out of favour with luck, destiny and fate, and the opinion of the world I all the time unaccompanied and on my own weep about my condition or status which is/was rejected by fortune And make trouble for the sky which is unable to hear my useless and unavailing cries And consider my state, and lament and complain about my fortune and destiny, Wishing me like to one with better expectation Well proportioned or shaped, and handsome like him, like him who has friends, wishing this man's skill (perhaps poetic art), and that man's opportunity and range of talents, With my most conspicuous gifts or talents in which I am most competent (here Shakespeare is referring to his poetry or to the profession of acting and playwriting) Nevertheless in these ideas and considerations, I look down on, hold in contempt and scorn myself,

9.

10. Perchance I remember you and think about you, and subsequently I remember and think about my condition 11. In this situation, I like to laugh and do silly game at break of day arising 12. From dull, dark, gloomy, and miserable earth, chants and tunes sing at the gate of heaven (here heaven signifies sky);

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13. Because your sweet love brings such happiness and reminds me such contentment, pleasure and well-being. 14. . That afterward I contempt and dislike to exchange my 'state' for that of kings. Theme The focus of this sonnet is the speaker and his condition. It is, in fact, a mirror image and rendering on his community, society, certified or qualified life as well as its problems are the main points of this poem. In principle and precisely, the theme of Sonnet 29 is the power of friendship or the authority of love, nevertheless only the concluding couplet explicitly expresses this idea, while most of the sonnet concentrates on the poet speakers miserable condition. Keywords The key words of sonnet 29 are as follows: State My Outcast State My bootless cries Myself Thee My State Wealth. Table 1: The Keywords of Shakespeares Sonnet 29 and their Persian Equivalences English State My Outcast State My bootless cries Myself Thee My State Persian

THE MAIN ANALYSIS AND DISCUSSIONS

Concerning the previous part of analysis in the octave of the poem, the speaker expresses his misfortune, dissatisfaction, restlessness, and envy. To have a more precise analysis let us see the poem from a deeper view: In the first quatrain the predominance belongs to the sounds [m], repeated 5 times; [n], 11 times; [d], 6 times; [s], 7 times; [ ], 8 times; [ ], 5 times; and [a ], 7 times. In the first line of the quatrain the speaker considers the situation in which he becomes despised and mean in the eyes of others. In this line, there is the repetition of the sounds [w], twice; [n], 5 times; [s] and [z], 4 times, and also the vowels [ ] and [ ], 5 times. The repetition of the [n] as well as the short vowels [ ] and [ ] indicates the feeling of hollowness that comes to our minds for the speaker. Through the repetition of [s], we imagine that he is whispering his words, and the recurrence of the consonant [z] helps us imagine the harshness of his tone. In the second line the recurrence of the diphthong [a ] indicates the sorrow and depression of the speaker and thus we clearly hear his heart beating fast through the 4-time repetition of the [t]. It should be mentioned that in this line, outcast state can refer to two different meanings of condition or status as follows: the condition or status rejected by fortune

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the condition or status socially looked down on (as not a gentleman or perhaps as an actor).

Moreover, the repetition of the plosion of [t] after the soft, smooth [s] indicate a forceful break of the silence. In fact, it is the voice of weeping which comes into our minds through the repetition of the mentioned two sounds. In the third line there is the repetition of the vowel [ ], 3 times, and the diphthong [a ], twice, showing the violence of his sorrow and depression. In the fourth line there is the repetition of the consonant [m], indicating his feeling of hollowness; the short vowels [] and [ ], showing the violence; and the diphthong [a ], showing his sorrow and depression. Therefore, the repetition of the mentioned sounds in this line help us imagine the poet or the speaker with the feeling of hollowness and with extreme sorrow and depression as well accompanied by his heavy sigh through the 3-time repetition of [n]. In the second quatrain the speaker mentions and speaks about his wishes and desires which he could never obtain in his life. In this quatrain the predominance belongs to [m], repeated 7 times; [n], repeated 10 times; [r], 5 times; [s], 5 times; [d], repeated 6 times; [t], 7 times; [ ], repeated 12 times; [ ], 7 times; and [a ], repeated 5 times. In the first line of the quatrain (the fifth line of the poem) the repetition of [m] and [n] 4 times indicates his tone which gets smooth, calm, and sleepy. Similarly, the 4-time repetition of [ ] shows his tone that turns to the lack of tension by thinking about the nice and calm situation which he has never seen. However, in the second line of the quatrain there is the repetition of [k], indicating that he is in conflict with himself. On one hand, he wants to imagine the ideal condition in which he is well featured and handsome and he has many friends; on the other hand, he cannot, because through the 7-time repetition of the short vowels [ ] and [I] as well as twice repetition of the diphthong [aI] he is agitated, Sorrowful and depressed due to his current condition. And thus the repetition of the fricative [f] in this line, shows fear. So, he is shown to be both upset and afraid at remembering his bad and awful condition. Besides, the recurrence of the glottal fricative [h] suggests that he is panting, he is breathing with difficulty. Nevertheless, the high speed of the line indicates that (again) he becomes hopeful to find some promising signal for presence or appearance of a better situation. In the third line of the quatrain the poet/speaker continues thinking about a nice situation. It should be noted that in this line the word art can refer to two different meanings of: 1- skill (probably poetic art) and 2- learning. Meanwhile, the term scope causes some senses as below to appear in our minds: 1- intelligence 2- opportunity 3- range of talents. In this line (the seventh one) there is the predominance of the consonants [n] and [m], repeated 6 times, indicating his feeling of hollowness; [s], repeated 3 times, suggesting his silence; and the short vowels [ ] and [], repeated 8 times, showing his agitation. There is also the repetition of [t], showing the rhythm of his heart; and the repetition of [], indicating the difficulty of utterance. In the last line of the quatrain he expresses his discontent and envy on his most conspicuous and obvious gifts or talents in which he is most competent (here the speaker/poet is probably referring to his poetry or the profession of acting and playwriting). In this line there is the repetition of the vowels [a], twice, and [ ], 3 times, as well as the consonants [w], twice; [t], 4 times; and [n], 3 times. Thus, the repetition of the vowels [a] and [ ] show his farness, remoteness, and nostalgia, as well as his agitation for the content and satisfaction that he deserved but could never achieve. Moreover, the abundance of the consonants [w], [t], and [n] suggests a great sorrow which causes a deep sigh for him due to his mentioned situation (his misfortune and discontent).

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The concluding sestet brings him back to the recognition that one solace remains and it wipes out and removes all his anguish, torment, distress and misfortune. It is the beloved. That is to say, the imagination and thought of his beloved brings him great pleasure, happiness, and joy. Accordingly, the first part applies anguish, despondency, and despair and the second part of the sonnet involves reassurance, pleasure, hope, and happiness. In the sestet, where come the lines in which he speaks of his beloved, we see in these lines 21 consonants are used, out of which 14 are voiced and soft. Narrowly put, in the third quatrain of the poem the predominance belongs to the sounds [t], repeated 9 times; [n], 6 times; [z], 7 times; [m], 5 times; [s], 6 times; [r], 5 times; [l], 6 times; [I], 8 times; [ ], 7 times; and [aI], 6 times. In the first line of this quatrain he remembers his real situation which is the impediment for all his good dreams. The twice repetition of the short vowels [ ], twice, and [I], 3 times as well as the recurrence of the diphthong [aI] show his sorrow, sadness, and depression. There is also the repetition of [z] and [s], 6 times, showing his sigh in a silent condition; and [t], 3 times, implying the fast beating of his heart. It should be mentioned that the word thoughts in this line can be considered as a pun and it can create the following different meanings in our minds: ideas, considerations, reflections; griefs, sorrows. So far, the repetition of the mentioned certain sounds have made us imagine the speaker in some agitated, depressed, and sorrowful mood. However, in the second line of the quatrain (the tenth line of the poem) where he addresses his beloved and remembers her, the repetition of the vowels [] and [ ], as well as the soft consonants [] and [n] help us see him in a reverse condition; there is the repetition of the vowels [] and [ ], 4 times, as well as the nasal [n], 3 times, indicating his laxity and calm. In addition, the repetition of the fricative [], twice, suggests that an impeded motion appeared in his mind by thinking about and remembering his beloved. That is to say, the recurrence of the diphthong [a ] which refers to the speaker and shows sorrow, grief, and depression, turns to [i], referring to his beloved (thee) and showing the speakers calm of mind, smiling, and peace. Regarding the other significant issues in the line, it should be added that the term state is a pun and it can bring two different senses into our minds: condition (social, economic, mental, emotional, or spiritual); status, rank.

In the third line of the quatrain there is the predominance of [ ], repeated twice, implying peace and lack of tension; [l] and [r], 5 times, indicating his happiness and joy, and [k], 3 times, showing the violence of his good emotions as well as indicating that the thought of the bad situation and the feeling of misfortune in his mind and heart are cut and pierced (by thinking about his beloved). Briefly, all the mentioned repeated sounds in this line reveal the image of the speaker that is so happy and extremely joyful at the thought of his great love. Afterwards, in the fourth line of the quatrain the twice repetition of [s], conveys a sense of smooth and soothing sounds; and the twice repetition of [t], implies the sound of singing and music. Also, the 4-time repetition of the vowels [ ] and [ ] brings a sense of lack of tension while he thinks about the magnificence and immensity of his love.

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It is worth mentioning that the most arresting, impressive, and notable image of the poem is the wonderful simile in the sestet for his festive and delightful soul: and then my state, Like to the lark at break of day arising From sullen earth, sings hymns at heavens gate; The repetition of /k/ sound in the words like and lark creates this image of tremendous and excessive happiness and the word arising that rises and falls like a larks genuine and real flight in the air describes the poets great joy and delight. We can still see the signs of the speaker's enjoyment, happiness, and joy in the final couplet. The predominance belongs to the consonants [s], repeated 4 times; [v], 4 times; [r], 5 times; [t], 4 times; [], also 4 times; and [n], 3 times. There is as well the frequency of [ ], repeated 4 times; and [a ], 3 times. In the first line of the couplet the recurrence of the long vowel [], suggests the speaker's peacefulness and relief. Similarly, the repetition of the vowels [ ], twice; and [ ], 3 times; show his lack of tension. Meanwhile, the repetition of [ ], in this line, gives a sense of intimacy and nearness.

Clearly the gaiety and high speed of the line reveals the image of a lover that is going to remember and reflect on his beloved. Thus he feels so happy and proud at the thought of remembering (when he starts remembering) the beloved as well as his memories with the beloved. The repetitions of the sounds [s], twice; and [v], 3 times furthermore, imply his tranquility, calm, and relief. In this line, on the other hand, besides the features mentioned, there is the repetition of the bilabials [b] and [m]. They are used 4 times. And since in this line the speaker (poet) is relating that at that moment he was thinking of his beloved, the repetition of the two bilabials may suggest kisses. Maybe he remembers those kisses he and the beloved had interchanged, or in his vision and dream he is kissing his beloved. In the second line of the quatrain the 3-time repetition of [] suggests this matter that remembering the beloved as well as her love is the impeded issue for remembering and thinking about his problems. In other words, calling his beloved and the beloved's love to mind, he forgets or stops reflecting on his difficulties and problems. There is also the repetition of the diphthongs [a ] and [ ], 4 times; creating the image of long duration from the beginning of his love. Besides, here, the recurrence of [ ], gives the sense of lightness and happiness. The repetition of [s], in this line, accompanied with the fricative [] and the nasal [n] indicates a deep silence which is at the same time pleasurable. We can hear the rhythm of his heart arising from his joy, through the 3-time repetition of [t]. It is worth mentioning that without doubt, there is a pun in the word state which comes into view in the couplet. The first meaning is the poets condition or feeling and the second meaning is his economic or social circumstances. Also an indication of political meaning can be outlined from political meaning of state that is, nation state (the throne). The poet declares that if he were to be offered the tenure and occupancy of a kingdom, he would not exchange the happiness of knowing his beloved for that supposedly superior and great state. The ultimate point lies in the final couplet, in which he is talking about his beloved: "For thy sweet love remember'd such wealth brings That then I scorn to change my state with kings".

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In this couplet 17 consonants are used, out of which 13 are voiced. This seems to suggest that the memory of the beloved in addition to the thought of his beloved's love makes him energetic, enthusiastic, and spirited. The memory or thought of his beloved has unions of life, youth and delight with itself, and thus takes him back to the beautiful, sweet, and happy life. It was the complete analysis and discussion about sonnet 29. The next portion deals with the analysis and discussion about sonnet 30 by the researcher.

DISCUSSIONS
In this paper, one of the main sonnet of Shakespeare - the well known poet of West was discussed thoroughly and in depth, with regard to the aesthetic elements in general and the non-verbal aesthetic elements and signs in particular. After analyzing the selected poem, it became known and it was revealed that (as we saw) the non-verbal aesthetic issues have very important role and impact in imagery and meaning formation in Shakespeare's sonnet 29. That is to say, it was known that the repetitions of sounds are very effective in imagery and construction of meaning in this poem. On the whole, it has been found that the non-verbal aesthetic elements and signs as the music of poetry do not exist in poem 29 just for decoration, yet, these aesthetic issues are very important in creating imagery as well as meaning in the poem. Thus, they should not be ignored in translation. Concerning the role of non-verbal aesthetic elements and signs in the selected poem, the analysis showed that the non-verbal aesthetic elements, signs and symbols are very important and effective issues in creating imagery and construction of senses in this poem. That is to say, the meaning of lines and the images appearing from them in the poem originate, to a great extent, from the non-verbal aesthetic elements and signs (that make some sort of music in the mind/which repetitions make music in the mind). The analysis, additionally, showed that the senses in the lines (even the further meanings) and the images appearing in our mind from each line of the poem are so much dependant on the existence of non-verbal aesthetics -specifically music made by them- that it is hardly possible to extricate them from translation. Consequently, the reader (translator) ignorance of/about these aesthetics causes him not to achieve the exact meaning and perception of the poem, and even sometimes culminates in misunderstanding, misinterpretation, and thus mistranslation.

CONCLUSIONS
The research query intended to identify the impact of non-verbal aesthetic elements and signs in imagery and meaning formation in Shakespeare's sonnet 29. The researcher found that the non-verbal aesthetic signs and symbols in this poem are very important and effective issues in creating imagery and construction or creation of senses in the poem. That is to say, the meaning of lines and the images appearing from them in poems originate, to a great extent, from the nonverbal aesthetic elements and signs. The research also showed that the senses in the lines (even the further meanings) and the images appearing in our mind from each line of the poem are so much dependant on the existence of non-verbal aesthetics specially music which they make in the lines of the poem. Accordingly, the senses in the lines of sonnet 29 (even the further meanings) and the images appearing in the readers mind from each line of the poem, to a great extent are created and caused by non-verbal aesthetics. The results also showed the significance of the aesthetic elements and signs in the context of understanding and translation of sonnet 29. The translator, therefore, must be sensitive to the non-verbal aesthetic elements and signs, or better to say, the sounds of this sonnet.

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