Shakespeare's
Sonnets
by David Cope
The
greatest of all sonnet sequences, Shakespeare's sonnets were written in the
years following Sidney's Astrophel and Stella, a sequence which had opened
up many new formal possibilities while employing a standard Petrarchan
plot line. Shakespeare was
beginning to emerge as a playwright of great substance in the 1590s, and while
most of the sonnets are probably from this period of his career, they were not
published until 1609. That edition
appeared and went quickly underground; in 1640, John Benson would publish an
edition in which the sonnets were "rearranged, in many cases combined into
longer 'poems,' given titles, and altered so that most of those addressed to
the young man were made to seem addressed to a woman" (Smith
1747-48). The original poems would
not reappear until 1711, when Bernard Lintott
published them from an original copy once owned by William Congreve, the
playwright (Giroux 5), and Malone would publish the first "reliable"
edition with commentary in 1780 (Smith 1748).
Shakespeare's
sonnets stand out from all others for a number of reasons. Other than in sonnets 99, 126, and 145,
he exclusively used the English pattern of three quatrains and couplet invented
by Surrey. The sonnets do not show
anywhere near as much formal variety and experimentation as Sidney's Astrophel and Stella,
yet like Sidney's work, the Shakespearean sonnet is "more colloquial in
tendency, more fluent, more suggestive of spontaneous utterance" than
earlier sonnets; further, "it rarely produces the exquisite sense of
highly wrought perfection, as of an ivory
carving," but "at its best the three quatrains seem like
incoming waves of imagery, each following
upon its predecessor and rising a little higher; then there is a pause,
when the couplet more quietly sums
up or comments on the meaning of the three" (Alden, Shakespeare 126-27, quoted in Booth
17). The main character to whom
most of the poems are addressed is a young man, not a woman, unlike other
sequences, and when the poems do address the famous "dark lady," we
discover a vastly different character than the conventional Petrarchan
mistress. Further, Shakespeare's
sonnets display the compression of language, his characteristic vivid metaphors
and choice of images, and most importantly, show a tension that can only come
from real emotional commitment.
The
sequence itself does not follow the usual Petrarchan
scheme of an unrequited love for an unattainable woman, but seems to involve a
love affair or at least a very close friendship between two young men, plus the
love for a raven-haired woman, the "dark lady," who is alluring but
not beautiful in the usual sense. The sequence also includes poems admonishing
the young man—who in sonnet 20 is described as the "master
mistress" of the poet's passions—to marry (sonnets 1-17), poems
exploring the shame and anger of untrue love (33-36 and 40-42), poems against a
rival poet, possibly Marlowe or Chapman (78-86), and a "Mortal Moon"
sonnet (107), supposedly written in 1603 as a tribute after the death of Queen
Elizabeth.
Other
poems explore the plight of the actor and include a reference to Robert
Greene's attack on Shakespeare as an "upstart crow" among playwrights
(110-112). That most vituperative
of the university wits had written that "there is an upstart crow,
beautified with our feathers, that, with his tiger's heart wrapped in a player's hide,
supposes he is as well able to bombast out a blank verse as the best of you;
and, being an absolute Johannes fac totum,
is, in his own conceit, the only Shake-scene in a country" (Greene 22);
Shakespeare admits in sonnet 110 that he has made himself "a motley to the
view" and "gored mine own thoughts, sold cheap what is most
dear," turning to his lover for redemption. In number 111, he complains of "public means which
public manners breeds," speaking of the penance and correction he must
undergo; sonnet 112 develops a pun on Greene's name as he begs, "what care
I who calls me well or ill, so you overgreen my bad,
my good allow?"
There
is also a "gross" sonnet (151), as well as sonnets playing on the
triple meaning of the word will—its significance as Shakespeare's own name, as the
"will" of willfulness, and also as an Elizabethan slang term for the
sex organs (135, 136). Finally,
there are two Bath sonnets (153, 154) ending the sequence with meditations on
the power of Love in human and divine affairs; in different ways, each of these
poems tells the story of how Diana's votaress stole
Cupid's fire and quenched it in a "cold-valley fountain." Despite this, the heat of the fire
would not die and transformed the fountain into a "seething bath"
which cures "strange maladies."
The poet next asserts that the fire had burned anew in his mistress's
eyes, that he went to the bath for help but could find none because "the
bath for my help lies where Cupid got new fire—my mistress' eyes."
As
with Sidney's Astrophel and Stella, one can roughly trace a
story in the sonnets: they begin
with the poet's admonition to his friend to marry, which leads to the two
friends' apparent emotional entanglement with each other. After this, there is some act on the
friend's part that necessitates forgiving him: in number 34, the poet complains that the friend has made
him "travel forth without my cloak" and "let base clouds o'ertake me in my way, hiding thy brav'ry
in their rotten smoke."
Number 35 forgives the friend for his act, claiming that the poet has
authorized "thy trespass," excusing the friend's "sensual
fault." The poet is
apparently not satisfied by his own forgiveness, however, and in the following
poem tells the friend that "we two must be twain, although our undivided
loves be one" because "these blots" that remain with the poet
are his concern alone. The interpretation
of these poems has been central in the debate over whether Shakespeare is
portraying gay love in his sequence; the rancor of the debate can be seen in
discourse concerning sonnet 20, which sees in the friend's face "a woman's
face with Nature's own hand painted." This same poem has been cited by critics who support a gay
interpretation as proof of the affair (Giroux 20-21), and by those who oppose
such interpretation as proof that the love between the friends is
"platonic" and not "any kind of homosexual attachment"
(Smith 1746). In his usual manner
of snorting at those who disagree with him, Rowse
claims "it is not worth commenting on the vast amount of nonsense this
sonnet has given rise to, when it is perfectly clear what it says and what it means"
(43). J. Dover Wilson explains
that platonic declarations of love between men were in Shakespeare's time
cordial statements, not indicative of homosexuality; in support of his
assertion, he repeats the claim once made by Malone:
Such addresses to men, however indelicate, were customary in
our author's time and neither imported criminality, nor were esteemed
indecorous. To regulate our judgement of Shakespeare's poems by the modes of modern times, is surely as unreasonable as to try his plays by the
rules of Aristotle. (quoted in Wilson 34)
Wilson
does mention that the friend's admirable and wanton qualities are elicited in
126 poems in the entire sequence, but does not explore the significance of that
quantity and of the breadth of feeling the poet displayed for the friend. That number of protestations, hopes,
dreams and despairs connected with the friend's love for the poet in itself implies something more than cordiality or simple
decorum. Giroux correctly points
out that the closing lines of the poem explicitly state that "physical
love between him and the young man is out of the question" (20) despite
what he sees as an obvious attachment between them, arguing that this love
progresses later to the friend's "trespass" in sonnets 33-36.
I
am inclined to follow Giroux rather than Smith and the others; whether the love
between poet and friend begins as a sexual affair or is simply
"platonic," it's clear that their love is an attachment and passion
beyond mere casual male camaraderie.
Further, it seems fairly certain to me that in sonnets 33 to 36 there
has been a physical encounter involving the friend's "sensual fault,"
and that the poet has since experienced contrary feelings about that encounter,
necessitating an emotional retrenching on his part. Rowse claims the encounter refers
to the friend's later involvement with the dark lady (71), claiming proof in
the fact that the story beginning in sonnets 33 and 34 is "duplicated and
viewed from the point of view of Shakespeare's relationship to his mistress
precisely one hundred sonnets later in the numbering" (71). In the first place, there are no clear
references to the dark lady in sonnets 33 to 36; indeed, she does not appear
until sonnet 127. Secondly, even
if one grants that the ordering of the sonnets is beyond question, there is no
structural reason why Shakespeare should purpose such a cross reference. Thirdly, Rowse's
numerical claim flies in the face of the fact that most commentators have
admitted that the ordering of the sonnets cannot be authoritatively
proven. L. C. Knights goes so far
as to suggest that the whole idea of the sonnets as an ordered sequence should
be abandoned, calling them "a miscellaneous collection of poems, written
at different times, for different purposes, and with very different degrees of
poetic intensity" (174).
Knights' claim overreaches the mark, but does show that Rowse's idea of numerical ordering is suspect. Hallet Smith
provides a more balanced view of the order of the poems: "the order in which the 154
sonnets are printed in Thorpe's [1609] edition cannot be said to have the
authority of the poet himself, but attempts by various editors to rearrange
them have failed to carry conviction to others, and the original order is therefore
followed in most modern editions" (1745). Thus, because there is no clear reference to the dark lady
and because the one-hundred poem cross reference theory is suspect even in its
conception, I conclude that the friend's sensual trespass involves not the dark
lady, but the poet himself. Their
relationship could thus be seen as the heterosexual poet's experimentation in
gay love and his subsequent confusion and withdrawal as a result of his own
feelings of guilt; in any case, the love was real for a time.
After
this, the sequence features poems about betrayal, meditations on the identities
of lovers and the problem of love and aging. Among these last, sonnet 73 is probably the most famous,
presenting the theme of carpe diem in terms of love and age. The narrator is an older man who in three successive
quatrains points out that he is like an autumnal leafless tree whose boughs no
longer contain "sweet birds," like twilight heralding that rest that
imitates death, and like the ashes of a fire "consum'd
with that which it was nourished by." Each of these quatrains underlines the brevity of the
narrator's time; the summary couplet ties this to a request that the beloved to
whom the poem is addressed "love that well, which thou must leave ere
long."
Next
come the problems with the rival poet—a rival in love and perhaps in
patronage; number 79 remembers when the friend listened only to the poet's
verse, worrying that now "my sick Muse doth give another place." In number 80, "a better
spirit" has taken the poet's place, and in this poem and in number 86, the
poet's muse is "tongue-tied" by the rival poet's ability to enshrine
the friend in verse. The rival
poet's work is described in terms of "the proud full sail of his great
verse" (86) with "a style admired every where" (84), and
Shakespeare feels his own poetry is "inferior far to his" (80). Biographical critics have long argued
over these lines, claiming they refer to either Chapman or Marlowe, whose
"mighty line" was universally admired by English playwrights in the
early nineties. Hallet Smith is quick to point out that "no one has
found any evidence that either Chapman or Marlowe wrote verse to either
Southampton or Pembroke," the two major candidates for the friend's
identity (1746). Smith also admits
that much of the verse from the period has not survived, and consequently we may never
know who either the rival poet or the friend may be—partisans of each
candidate will thus continue to press forward with their favorites. In any case, the poet narrator is
clearly upset by the competition; he reminds the friend that the rival poet's
verse only reflects the friend's own natural beauty (79), admits that he
deserves the greater praise the rival poet can give him (79) and that the
friend is not "married to my Muse" (82), ending in a farewell in
which the friend is seen as "too dear for my possessing" (87).
Once
this rivalry is resolved, there are poems of departure and return, and poems
written to the raven-haired mistress, the most famous of which begins "my
mistress' eyes are nothing like the sun" (130). This poem has always intrigued me; it can be read as a
serious reflection on the fact that beauty and the inner heart cannot be seen
in outward features, which can only be "belied with false compare,"
yet it also satirizes all those "beauties" who populate Petrarchan sequences with their ruby lips, ivory teeth,
snow white skin and souls as vapid as their eyes must be glazed over; it
deconstructs the concepts of love represented in all those stereotypical
"ideal" women and the men who dote on them, and as such is a comment on the
entire set of conventions so many poets had echoed. Both the poet and the friend become entangled with the dark
lady, and many of the later sonnets explore the jealousy and despair excited
when a sexual affair involves such a threesome. In number 133, the poet asks the lady about the extent of
her cruelty: "is't not enough to torture me alone?" In number 134, he confesses that
"he is thine," apparently accepting the loss
of both friend and lady. Numbers
135 and 136 explore the triumph of the will over reason in puns on the poet's
name, and in the poems following these he meditates on love as a hell of desire
(144), as "the centre of my sinful earth" (146), and as a fever
(147); the two Bath sonnets conclude the sequence in a formalized meditation on
the nature of sexual love.
Shakespeare's
sonnets thus involve an immense variety of emotional stances and actual
entanglements—he is never the static and patient lover bemoaning the fact
that an idealized mistress won't come down to him, but is always involved in
and experiencing the action, the physical as well as emotional distresses of a
complicated love life involving both a male friend and a dark lady who
represent his "comfort and despair" (144). Scholars have argued
endlessly about the identity of these lovers, whether the apparently gay poems
are in fact expressions of homosexual love, and what individual lines refer to. It's probably safe to say they were
mostly written in the early 1590s, during the same period as the composition of
Love's Labour Lost (which also contains several sonnets), and
that they were written under the patronage of the young Earl of Southampton, a
noted dandy and reckless lover, protegé of the
soon-to-be ill-fated Earl of Essex.
Giroux speculates that Southampton is the young man of sonnets 1-126
(59-102), citing two letters and the similarity between one of these to sonnet
26. The exact identity of the
lovers is unimportant, in the end; the point of the writing is its meditation
on the problems and excesses that love, and especially youthful love, is
sometimes ensnared in.
Works Cited
Booth, Stephen. An Essay on Shakespeare's Sonnets
. New Haven and London: Yale U P, 1969.
Giroux, Robert. The Book Known as Q. New York: Vintage, 1983.
Greene, Robert. "Greenes
Groats-worth of witte,
1592." Prose of The English
Renaissance. Ed. J. William Hebel et al.
New York:
Appleton-Century-Crofts, 1952.
Knights, L. C. "Shakespeare's Sonnets." A Casebook on Shakespeare's Sonnets. Ed. Gerald Willen and Victor B. Reed. New York:
Crowell, 1964.
Rowse, A. L. Shakespeare's Sonnets: Edited, with Introduction and Commentary. New York and
Evanston: Harper, 1964.
Shakespeare, William.
"The Sonnets." The
Riverside Shakespeare. Ed.
G. Blakemore Evans et al.
Boston: Houghton Mifflin,
1974.
Smith, Hallet. "Sonnets." The Riverside Shakespeare. Ed. G. Blakemore Evans et al. Boston: Houghton Mifflin, 1974.
Wilson, J. Dover. An Introduction to Shakespeare's Sonnets. New York: Cambridge U P, 1964.