Shakespeare's Sonnets - Shakespeare's Sonnets | Folger Shakespeare Library (2024)

1

Synopsis:

In this first of many sonnets about the briefness of human life, the poet reminds the young man that time and death will destroy even the fairest of living things. Only if they reproduce themselves will their beauty survive. The young man’s refusal to beget a child is therefore self-destructive and wasteful.

Fromfairestcreatureswedesireincrease,
Thattherebybeauty’srosemightneverdie,
But,astheripershouldbytimedecease,
4Histenderheirmightbearhismemory.
Butthou,contractedtothineownbrighteyes,
Feed’stthylight’sflamewithself-substantialfuel,
Makingafaminewhereabundancelies,
8Thyselfthyfoe,tothysweetselftoocruel.
Thouthatartnowtheworld’sfreshornament
Andonlyheraldtothegaudyspring
Withinthineownbudburiestthycontent
12And,tenderchurl,mak’stwasteinnigg*rding.
Pitytheworld,orelsethisgluttonbe—
Toeattheworld’sdue,bythegraveandthee.

2

Synopsis:

The poet challenges the young man to imagine two different futures, one in which he dies childless, the other in which he leaves behind a son. In the first, the young man will waste the uninvested treasure of his youthful beauty. In the other, though still himself subject to the ravages of time, his child’s beauty will witness the father’s wise investment of this treasure.

Whenfortywintersshallbesiegethybrow
Anddigdeeptrenchesinthybeauty’sfield,
Thyyouth’sproudlivery,sogazedonnow,
4Willbeatatteredweedofsmallworthheld.
Thenbeingaskedwhereallthybeautylies,
Whereallthetreasureofthylustydays,
Tosaywithinthineowndeep-sunkeneyes
8Wereanall-eatingshameandthriftlesspraise.
Howmuchmorepraisedeservedthybeauty’suse
Ifthoucouldstanswer“Thisfairchildofmine
Shallsummycountandmakemyoldexcuse,”
12Provinghisbeautybysuccessionthine.
Thisweretobenewmadewhenthouartold
Andseethybloodwarmwhenthoufeel’stitcold.

3

Synopsis:

The poet urges the young man to reflect on his own image in a mirror. Just as the young man’s mother sees her own youthful self reflected in the face of her son, so someday the young man should be able to look at his son’s face and see reflected his own youth. If the young man decides to die childless, all these faces and images die with him.

Lookinthyglassandtellthefacethouviewest
Nowisthetimethatfaceshouldformanother,
Whosefreshrepairifnowthounotrenewest,
4Thoudostbeguiletheworld,unblesssomemother.
Forwhereisshesofairwhoseunearedwomb
Disdainsthetillageofthyhusbandry?
Orwhoishesofondwillbethetomb
8Ofhisself-love,tostopposterity?
Thouartthymother’sglass,andsheinthee
CallsbackthelovelyAprilofherprime;
Sothouthroughwindowsofthineageshaltsee,
12Despiteofwrinkles,thisthygoldentime.
Butifthouliverememberednottobe,
Diesingle,andthineimagedieswiththee.

4

Synopsis:

The poet returns to the idea of beauty as treasure that should be invested for profit. Here, the young man’s refusal to beget a child is likened to his spending inherited wealth on himself rather than investing it or sharing it generously.

Unthriftyloveliness,whydostthouspend
Uponthyselfthybeauty’slegacy?
Nature’sbequestgivesnothingbutdothlend,
4Andbeingfrank,shelendstothosearefree.
Then,beauteousnigg*rd,whydostthouabuse
Thebounteouslargessgiventheetogive?
Profitlessusurer,whydostthouuse
8Sogreatasumofsumsyetcanstnotlive?
For,havingtrafficwiththyselfalone,
Thouofthyselfthysweetselfdostdeceive.
Thenhow,whennaturecallstheetobegone,
12Whatacceptableauditcanstthouleave?
Thyunusedbeautymustbetombedwiththee,
Whichusèdlivesth’executortobe.

5

Synopsis:

In this first of two linked sonnets, the poet compares the young man to summer and its flowers, doomed to be destroyed by winter. Even though summer inevitably dies, he argues, its flowers can be distilled into perfume. The beauty of the flowers and thereby the essence of summer are thus preserved.

Thosehoursthatwithgentleworkdidframe
Thelovelygazewhereeveryeyedothdwell
Willplaythetyrantstotheverysame
4Andthatunfairwhichfairlydothexcel;
Fornever-restingtimeleadssummeron
Tohideouswinterandconfoundshimthere,
Sapcheckedwithfrostandlustyleavesquitegone,
8Beautyo’er-snowedandbarenesseverywhere.
Then,werenotsummer’sdistillationleft
Aliquidprisonerpentinwallsofglass,
Beauty’seffectwithbeautywerebereft,
12Noritnornoremembrancewhatitwas.
Butflowersdistilled,thoughtheywithwintermeet,
Leesebuttheirshow;theirsubstancestilllivessweet.

6

Synopsis:

Continuing the argument from s.5, the poet urges the young man to produce a child, and thus distill his own summerlike essence. The poet then returns to the beauty-as-treasure metaphor and proposes that the lending of treasure for profit—i.e., usury—is not forbidden by law when the borrower is happy with the bargain. If the young man lends his beauty and gets in return enormous wealth in the form of children, Death will be helpless to destroy him, since he will continue to live in his offspring.

Thenletnotwinter’sraggedhanddeface
Intheethysummererethoubedistilled.
Makesweetsomevial;treasurethousomeplace
4Withbeauty’streasureereitbeself-killed.
Thatuseisnotforbiddenusury
Whichhappiesthosethatpaythewillingloan;
That’sforthyselftobreedanotherthee,
8Ortentimeshappier,beittenforone.
Tentimesthyselfwerehappierthanthouart
Iftenofthinetentimesrefiguredthee;
Thenwhatcoulddeathdoifthoushouldstdepart,
12Leavingtheelivinginposterity?
Benotself-willed,forthouartmuchtoofair
Tobedeath’sconquestandmakewormsthineheir.

7

Synopsis:

This sonnet traces the path of the sun across the sky, noting that mortals gaze in admiration at the rising and the noonday sun. When the sun begins to set, says the poet, it is no longer an attraction. Such is the path that the young man’s life will follow—a blaze of glory followed by descent into obscurity—unless he begets a son.

Lo,intheorientwhenthegraciouslight
Liftsuphisburninghead,eachundereye
Dothhomagetohisnew-appearingsight,
4Servingwithlookshissacredmajesty;
Andhavingclimbedthesteep-upheavenlyhill,
Resemblingstrongyouthinhismiddleage,
Yetmortallooksadorehisbeautystill,
8Attendingonhisgoldenpilgrimage.
Butwhenfromhighmostpitchwithwearycar
Likefeebleagehereelethfromtheday,
Theeyes,’foreduteous,nowconvertedare
12Fromhislowtractandlookanotherway.
Sothou,thyselfoutgoinginthynoon,
Unlookedondiestunlessthougetason.

8

Synopsis:

The poet observes the young man listening to music without pleasure, and suggests that the young man hears in the harmony produced by the instrument’s individual but conjoined strings an accusation about his refusing to play his part in the concord of “sire and child and happy mother.”

Musictohear,whyhear’stthoumusicsadly?
Sweetswithsweetswarnot,joydelightsinjoy.
Whylov’stthouthatwhichthoureceiv’stnotgladly,
4Orelsereceiv’stwithpleasurethineannoy?
Ifthetrueconcordofwell-tunèdsounds,
Byunionsmarried,dooffendthineear,
Theydobutsweetlychidethee,whoconfounds
8Insinglenessthepartsthatthoushouldstbear.
Markhowonestring,sweethusbandtoanother,
Strikeseachineachbymutualordering,
Resemblingsireandchildandhappymother
12Who,allinone,onepleasingnotedosing;
Whosespeechlesssong,beingmany,seemingone,
Singsthistothee:“Thousinglewiltprovenone.”

9

Synopsis:

The poet argues that if the young man refuses to marry for fear of someday leaving behind a grieving widow, he is ignoring the worldwide grief that will be caused if he dies single, leaving behind no heir to his beauty.

Isitforfeartowetawidow’seye
Thatthouconsum’stthyselfinsinglelife?
Ah,ifthouissuelessshalthaptodie,
4Theworldwillwailtheelikeamakelesswife;
Theworldwillbethywidowandstillweep
Thatthounoformoftheehastleftbehind,
Wheneveryprivatewidowwellmaykeep,
8Bychildren’seyes,herhusband’sshapeinmind.
Lookwhatanunthriftintheworlddothspend
Shiftsbuthisplace,forstilltheworldenjoysit;
Butbeauty’swastehathintheworldanend,
12And,keptunused,theusersodestroysit.
Nolovetowardothersinthatbosomsits
Thatonhimselfsuchmurd’rousshamecommits.

10

Synopsis:

This sonnet, expanding the couplet that closes s.9, accuses the young man of a murderous hatred against himself and his family line and urges him to so transform himself that his inner being corresponds to his outer graciousness and kindness.

Forshamedenythatthoubear’stlovetoany,
Whoforthyselfartsounprovident.
Grant,ifthouwilt,thouartbelovedofmany,
4Butthatthounonelov’stismostevident.
Forthouartsopossessedwithmurd’roushate
That’gainstthyselfthoustick’stnottoconspire,
Seekingthatbeauteousrooftoruinate
8Whichtorepairshouldbethychiefdesire.
O,changethythought,thatImaychangemymind.
Shallhatebefairerlodgedthangentlelove?
Beasthypresenceis,graciousandkind,
12Ortothyselfatleastkind-heartedprove.
Maketheeanotherselfforloveofme,
Thatbeautystillmayliveinthineorthee.

11

Synopsis:

The poet once again urges the young man to choose a future in which his offspring carry his vitality forward instead of one in which his natural gifts will be coldly buried. The very exceptionality of the young man’s beauty obliges him to cherish and wisely perpetuate that gift.

Asfastasthoushaltwane,sofastthougrow’st
Inoneofthine,fromthatwhichthoudepartest;
Andthatfreshbloodwhichyounglythoubestow’st
4Thoumaystcallthinewhenthoufromyouthconvertest.
Hereinliveswisdom,beauty,andincrease;
Withoutthis,folly,age,andcolddecay.
Ifallweremindedso,thetimesshouldcease,
8Andthreescoreyearwouldmaketheworldaway.
Letthosewhomnaturehathnotmadeforstore,
Harsh,featureless,andrude,barrenlyperish;
Lookwhomshebestendowedshegavethemore,
12Whichbounteousgiftthoushouldstinbountycherish.
Shecarvedtheeforherseal,andmeantthereby
Thoushouldstprintmore,notletthatcopydie.

12

Synopsis:

As he observes the motion of the clock and the movement of all living things toward death and decay, the poet faces the fact that the young man’s beauty will be destroyed by Time. Nothing besides offspring, he argues, can defy Time’s scythe.

WhenIdocounttheclockthattellsthetime
Andseethebravedaysunkinhideousnight,
WhenIbeholdthevioletpastprime
4Andsablecurls⌜all⌝silveredo’erwithwhite;
WhenloftytreesIseebarrenofleaves,
Whicherstfromheatdidcanopytheherd,
Andsummer’sgreenallgirdedupinsheaves
8Borneonthebierwithwhiteandbristlybeard;
ThenofthybeautydoIquestionmake
Thatthouamongthewastesoftimemustgo,
Sincesweetsandbeautiesdothemselvesforsake
12Anddieasfastastheyseeothersgrow;
Andnothing’gainstTime’sscythecanmakedefense
Savebreed,tobravehimwhenhetakestheehence.

13

Synopsis:

The poet argues that the young man, in refusing to prepare for old age and death by producing a child, is like a spendthrift who fails to care for his family mansion, allowing it to be destroyed by the wind and the cold of winter.

O,thatyouwereyourself!But,love,youare
Nolongeryoursthanyouyourselfherelive;
Againstthiscomingendyoushouldprepare,
4Andyoursweetsemblancetosomeothergive.
Soshouldthatbeautywhichyouholdinlease
Findnodetermination;thenyouwere
⌜Your⌝selfa*gainafteryourself’sdecease
8Whenyoursweetissueyoursweetformshouldbear.
Wholetssofairahousefalltodecay,
Whichhusbandryinhonormightuphold
Againstthestormygustsofwinter’sday
12Andbarrenrageofdeath’seternalcold?
O,nonebutunthrifts,dearmylove,youknow.
Youhadafather;letyoursonsayso.

14

Synopsis:

As astrologers predict the future from the stars, so the poet reads the future in the “constant stars” of the young man’s eyes, where he sees that if the young man breeds a son, truth and beauty will survive; if not, they die when the young man dies.

NotfromthestarsdoImyjudgmentpluck,
AndyetmethinksIhaveastronomy—
Butnottotellofgoodorevilluck,
4Ofplagues,ofdearths,orseasons’quality;
NorcanIfortunetobriefminutestell,
Pointingtoeachhisthunder,rain,andwind,
Orsaywithprincesifitshallgowell
8ByoftpredictthatIinheavenfind.
ButfromthineeyesmyknowledgeIderive,
And,constantstars,inthemIreadsuchart
Astruthandbeautyshalltogetherthrive
12Iffromthyselftostorethouwouldstconvert;
OrelseoftheethisIprognosticate:
Thyendistruth’sandbeauty’sdoomanddate.

15

Synopsis:

In the first of two linked sonnets, the poet once again examines the evidence that beauty and splendor exist only for a moment before they are destroyed by Time. Here the poet suggests—through wordplay onengraft—that the young man can be kept alive not only through procreation but also in the poet’s verse.

WhenIconsidereverythingthatgrows
Holdsinperfectionbutalittlemoment,
Thatthishugestagepresentethnoughtbutshows
4Whereonthestarsinsecretinfluencecomment;
WhenIperceivethatmenasplantsincrease,
Cheerèdandcheckedevenbytheselfsamesky,
Vauntintheiryouthfulsap,atheightdecrease,
8Andweartheirbravestateoutofmemory;
Thentheconceitofthisinconstantstay
Setsyoumostrichinyouthbeforemysight,
WherewastefulTimedebatethwithDecay
12Tochangeyourdayofyouthtosulliednight;
And,allinwarwithTimeforloveofyou,
Ashetakesfromyou,Iengraftyounew.

16

Synopsis:

Continuing the thought of s.15, the poet argues that procreation is a “mightier way” than poetry for the young man to stay alive, since the poet’s pen cannot present him as a living being.

Butwhereforedonotyouamightierway
MakewaruponthisbloodytyrantTime,
Andfortifyyourselfinyourdecay
4Withmeansmoreblessèdthanmybarrenrhyme?
Nowstandyouonthetopofhappyhours,
Andmanymaidengardens,yetunset,
Withvirtuouswishwouldbearyourlivingflowers,
8Muchlikerthanyourpaintedcounterfeit.
Soshouldthelinesoflifethatliferepair
Whichthistime’spencilormypupilpen
Neitherininwardworthnoroutwardfair
12Canmakeyouliveyourselfineyesofmen.
Togiveawayyourselfkeepsyourselfstill,
Andyoumustlive,drawnbyyourownsweetskill.

17

Synopsis:

As further argument against mere poetic immortality, the poet insists that if his verse displays the young man’s qualities in their true splendor, later ages will assume that the poems are lies. However, if the young man leaves behind a child, he will remain doubly alive—in verse and in his offspring.

Whowillbelievemyverseintimetocome
Ifitwerefilledwithyourmosthighdeserts?
Thoughyet,heavenknows,itisbutasatomb
4Whichhidesyourlifeandshowsnothalfyourparts.
IfIcouldwritethebeautyofyoureyes
Andinfreshnumbersnumberallyourgraces,
Theagetocomewouldsay“Thispoetlies;
8Suchheavenlytouchesne’ertouchedearthlyfaces.”
Soshouldmypapers,yellowedwiththeirage,
Bescorned,likeoldmenoflesstruththantongue,
Andyourtruerightsbetermedapoet’srage
12Andstretchèdmeterofanantiquesong.
Butweresomechildofyoursalivethattime,
Youshouldlivetwice—initandinmyrhyme.

18

Synopsis:

In a radical departure from the previous sonnets, the young man’s beauty, here more perfect even than a day in summer, is not threatened by Time or Death, since he will live in perfection forever in the poet’s verses.

ShallIcomparetheetoasummer’sday?
Thouartmorelovelyandmoretemperate.
RoughwindsdoshakethedarlingbudsofMay,
4Andsummer’sleasehathalltooshortadate.
Sometimetoohottheeyeofheavenshines,
Andoftenishisgoldcomplexiondimmed;
Andeveryfairfromfairsometimedeclines,
8Bychanceornature’schangingcourseuntrimmed.
Butthyeternalsummershallnotfade
Norlosepossessionofthatfairthouow’st,
NorshallDeathbragthouwand’restinhisshade,
12Whenineternallinestotimethougrow’st.
Solongasmencanbreatheoreyescansee,
Solonglivesthis,andthisgiveslifetothee.

19

Synopsis:

The “war with Time” announced in s.15is here engaged in earnest as the poet, allowing Time its usual predations, forbids it to attack the young man. Should this command fail to be effective, however, the poet claims that the young man will in any case remain always young in the poet’s verse.

DevouringTime,bluntthouthelion’spaws
AndmaketheEarthdevourherownsweetbrood;
Pluckthekeenteethfromthefiercetiger’s⌜jaws,⌝
4Andburnthelong-livedphoenixinherblood;
Makegladandsorryseasonsasthoufleet’st
Anddowhate’erthouwilt,swift-footedTime,
Tothewideworldandallherfadingsweets.
8ButIforbidtheeonemostheinouscrime:
O,carvenotwiththyhoursmylove’sfairbrow,
Nordrawnolinestherewiththineantiquepen;
Himinthycourseuntainteddoallow
12Forbeauty’spatterntosucceedingmen.
Yetdothyworst,oldTime;despitethywrong,
Myloveshallinmyverseeverliveyoung.

20

Synopsis:

The poet fantasizes that the young man’s beauty is the result of Nature’s changing her mind: she began to create a beautiful woman, fell in love with her own creation, and turned it into a man. The poet, thus deprived of a female sexual partner, concedes that it is women who will receive pleasure and progeny from the young man, but the poet will nevertheless have the young man’s love.

Awoman’sfacewithNature’sownhandpainted
Hastthou,themastermistressofmypassion;
Awoman’sgentleheart,butnotacquainted
4Withshiftingchange,asisfalsewomen’sfashion;
Aneyemorebrightthantheirs,lessfalseinrolling,
Gildingtheobjectwhereuponitgazeth;
Amaninhueallhuesinhiscontrolling,
8Whichstealsmen’seyesandwomen’ssoulsamazeth.
Andforawomanwertthoufirstcreated,
TillNatureasshewroughttheefella-doting,
Andbyadditionmeoftheedefeated
12Byaddingonethingtomypurposenothing.
Butsincesheprickedtheeoutforwomen’spleasure,
Minebethylove,andthylove’susetheirtreasure.

21

Synopsis:

The poet contrasts himself with poets who compare those they love to such rarities as the sun, the stars, or April flowers. His poetry will, he writes, show his beloved as a beautiful mortal instead of using the exaggerated terms of an advertisem*nt.

Soisitnotwithmeaswiththatmuse
Stirredbyapaintedbeautytohisverse,
Whoheavenitselfforornamentdothuse
4Andeveryfairwithhisfairdothrehearse,
Makingacouplementofproudcompare
Withsunandmoon,withearthandsea’srichgems,
WithApril’sfirstbornflowersandallthingsrare
8Thatheaven’sairinthishugerondurehems.
O,letme,trueinlove,buttrulywrite,
Andthenbelieveme,myloveisasfair
Asanymother’schild,thoughnotsobright
12Asthosegoldcandlesfixedinheaven’sair.
Letthemsaymorethatlikeofhearsaywell;
Iwillnotpraisethatpurposenottosell.

22

Synopsis:

This sonnet plays with the poetic idea of love as an exchange of hearts. The poet urges the young man to take care of himself, since his breast carries the poet’s heart; and the poet promises the same care of the young man’s heart, which, the poet reminds him, has been given to the poet “not to give back again.”

MyglassshallnotpersuademeIamold
Solongasyouthandthouareofonedate,
ButwhenintheeTime’sfurrowsIbehold,
4ThenlookIdeathmydaysshouldexpiate.
Forallthatbeautythatdothcoverthee
Isbuttheseemlyraimentofmyheart,
Whichinthybreastdothlive,asthineinme;
8HowcanIthenbeelderthanthouart?
O,therefore,love,beofthyselfsowary
AsInotformyselfbutfortheewill,
Bearingthyheart,whichIwillkeepsochary
12Astendernurseherbabefromfaringill.
Presumenotonthyheartwhenmineisslain.
Thougav’stmethinenottogivebackagain.

23

Synopsis:

The poet blames his inability to speak his love on his lack of self-confidence and his too-powerful emotions, and he begs his beloved to find that love expressed in his writings.

Asanunperfectactoronthestage
Whowithhisfearisputbesidehispart,
Orsomefiercethingrepletewithtoomuchrage,
4Whosestrength’sabundanceweakenshisownheart;
SoIforfearoftrustforgettosay
Theperfectceremonyoflove’srite,
Andinmineownlove’sstrengthseemtodecay,
8O’erchargedwithburdenofmineownlove’smight.
O,letmybooksbethentheeloquence
Anddumbpresagersofmyspeakingbreast,
Whopleadforloveandlookforrecompense
12Morethanthattonguethatmorehathmoreexpressed.
O,learntoreadwhatsilentlovehathwrit.
Tohearwitheyesbelongstolove’sfinewit.

24

Synopsis:

This sonnet elaborates the metaphor of carrying the beloved’s picture in one’s heart. The poet claims that his eyes have painted on his heart a picture of the beloved. The poet’s body is both the picture’s frame and the shop where it is displayed. His only regret is that eyes paint only what they see, and they cannot see into his beloved’s heart.

Mineeyehathplayedthepainterandhath⌜stelled⌝
Thybeauty’sformintableofmyheart;
Mybodyistheframewherein’tisheld,
4Andperspectiveitisbestpainter’sart.
Forthroughthepaintermustyouseehisskill
Tofindwhereyourtrueimagepicturedlies,
Whichinmybosom’sshopishangingstill,
8Thathathhiswindowsglazèdwiththineeyes.
Nowseewhatgoodturnseyesforeyeshavedone:
Mineeyeshavedrawnthyshape,andthineforme
Arewindowstomybreast,wherethroughthesun
12Delightstopeep,togazethereinonthee.
Yeteyesthiscunningwanttogracetheirart:
Theydrawbutwhattheysee,knownottheheart.

25

Synopsis:

The poet contrasts himself with those who seem more fortunate than he. Their titles and honors, he says, though great, are subject to whim and accident, while his greatest blessing, his love, will not change.

Letthosewhoareinfavorwiththeirstars
Ofpublichonorandproudtitlesboast,
WhilstI,whomfortuneofsuchtriumphbars,
4UnlookedforjoyinthatIhonormost.
Greatprinces’favoritestheirfairleavesspread
Butasthemarigoldatthesun’seye,
Andinthemselvestheirprideliesburièd,
8Foratafrowntheyintheirglorydie.
Thepainfulwarriorfamousèdforworth,
Afterathousandvictoriesoncefoiled,
Isfromthebookofhonorrazèdquite,
12Andalltherestforgotforwhichhetoiled.
ThenhappyI,thatloveandambeloved
WhereImaynotremovenorberemoved.

26

Synopsis:

The poet, assuming the role of a vassal owing feudal allegiance, offers his poems as a token of duty, apologizing for their lack of literary worth. He begs his liege lord to protect this expression of his duty until fortune allows him to boast openly of his love.

Lordofmylove,towhominvassalage
Thymerithathmydutystronglyknit,
TotheeIsendthiswrittenembassage
4Towitnessduty,nottoshowmywit;
Dutysogreat,whichwitsopoorasmine
Maymakeseembare,inwantingwordstoshowit,
ButthatIhopesomegoodconceitofthine
8Inthysoul’sthought,allnaked,willbestowit;
Tillwhatsoeverstarthatguidesmymoving
Pointsonmegraciouslywithfairaspect,
Andputsapparelonmytatteredloving
12Toshowmeworthyof⌜thy⌝sweetrespect.
ThenmayIdaretoboasthowIdolovethee;
Tillthen,notshowmyheadwherethoumaystproveme.

27

Synopsis:

In this first of two linked sonnets, the poet complains that the night, which should be a time of rest, is instead a time of continuing toil as, in his imagination, he struggles to reach his beloved.

Wearywithtoil,Ihastemetomybed,
Thedearreposeforlimbswithtraveltired,
Butthenbeginsajourneyinmyhead
4Toworkmymindwhenbody’swork’sexpired.
Forthenmythoughts,fromfarwhereIabide,
Intendazealouspilgrimagetothee,
Andkeepmydroopingeyelidsopenwide,
8Lookingondarknesswhichtheblinddosee;
Savethatmysoul’simaginarysight
Presents⌜thy⌝shadowtomysightlessview,
Whichlikeajewelhunginghastlynight
12Makesblacknightbeauteousandheroldfacenew.
Lo,thus,bydaymylimbs,bynightmymind,
Fortheeandformyselfnoquietfind.

28

Synopsis:

Continuing the thought of s.27, the poet claims that day and night conspire to torment him. Though he has flattered both day and night by comparing them to beautiful qualities of his beloved, day continues to exhaust him and night to distress him.

HowcanIthenreturninhappyplight
Thatamdebarredthebenefitofrest,
Whenday’soppressionisnoteasedbynight,
4Butdaybynightandnightbydayoppressed;
Andeach,thoughenemiestoeither’sreign,
Doinconsentshakehandstotortureme,
Theonebytoil,theothertocomplain
8HowfarItoil,stillfartherofffromthee?
Itellthedaytopleasehimthouartbright
Anddosthimgracewhencloudsdoblottheheaven;
SoflatterItheswartcomplexionednight,
12Whensparklingstarstwirenot,thou⌜gild’st⌝theeven.
Butdaydothdailydrawmysorrowslonger,
Andnightdothnightlymakegrief’slengthseemstronger.

29

Synopsis:

The poet, dejected by his low status, remembers his friend’s love, and is thereby lifted into joy.

Whenindisgracewithfortuneandmen’seyes,
Iallalonebeweepmyoutcaststate,
Andtroubledeafheavenwithmybootlesscries,
4Andlookuponmyselfandcursemyfate,
Wishingmeliketoonemorerichinhope,
Featuredlikehim,likehimwithfriendspossessed,
Desiringthisman’sartandthatman’sscope,
8WithwhatImostenjoycontentedleast;
Yetinthesethoughtsmyselfalmostdespising,
HaplyIthinkonthee,andthenmystate,
Liketothelarkatbreakofdayarising
12Fromsullenearth,singshymnsatheaven’sgate;
Forthysweetloverememberedsuchwealthbrings
ThatthenIscorntochangemystatewithkings.

30

Synopsis:

The poet pictures his moments of serious reflection as a court session in which his memories are summoned to appear. As they come forward, he grieves for all that he has lost, but he then thinks of his beloved friend and the grief changes to joy.

Whentothesessionsofsweetsilentthought
Isummonupremembranceofthingspast,
IsighthelackofmanyathingIsought,
4Andwitholdwoesnewwailmydeartime’swaste;
ThencanIdrownaneye,unusedtoflow,
Forpreciousfriendshidindeath’sdatelessnight,
Andweepafreshlove’slongsincecanceledwoe,
8Andmoanth’expenseofmanyavanishedsight.
ThencanIgrieveatgrievancesforegone,
Andheavilyfromwoetowoetello’er
Thesadaccountoffore-bemoanèdmoan,
12WhichInewpayasifnotpaidbefore.
ButifthewhileIthinkonthee,dearfriend,
Alllossesarerestoredandsorrowsend.

31

Synopsis:

The poet sees the many friends now lost to him as contained in his beloved. Thus, the love he once gave to his lost friends is now given wholly to the beloved.

Thybosomisendearèdwithallhearts
WhichIbylackinghavesupposèddead,
Andtherereignsloveandalllove’slovingparts,
4AndallthosefriendswhichIthoughtburièd.
Howmanyaholyandobsequioustear
Hathdearreligiouslovestol’nfrommineeye,
Asinterestofthedead,whichnowappear
8Butthingsremovedthathiddenin⌜thee⌝lie.
Thouartthegravewhereburiedlovedothlive,
Hungwiththetrophiesofmyloversgone,
Whoalltheirpartsofmetotheedidgive;
12Thatdueofmanynowisthinealone.
TheirimagesIlovedIviewinthee,
Andthou,allthey,hastalltheallofme.

32

Synopsis:

The poet imagines his poems being read and judged by his beloved after the poet’s death, and he asks that the poems, though not as excellent as those written by later writers, be kept and enjoyed because of the love expressed in them.

Ifthousurvivemywell-contentedday
WhenthatchurlDeathmyboneswithdustshallcover,
Andshaltbyfortuneoncemoreresurvey
4Thesepoorrudelinesofthydeceasèdlover,
Comparethemwiththebett’ringofthetime,
Andthoughtheybeoutstrippedbyeverypen,
Reservethemformylove,notfortheirrhyme,
8Exceededbytheheightofhappiermen.
O,thenvouchsafemebutthislovingthought:
“Hadmyfriend’smusegrownwiththisgrowingage,
Adearerbirththanthishislovehadbrought
12Tomarchinranksofbetterequipage.
Butsincehediedandpoetsbetterprove,
TheirsfortheirstyleI’llread,hisforhislove.”

33

Synopsis:

The poet describes the sun first in its glory and then after its being covered with dark clouds; this change resembles his relationship with the beloved, who is now “masked” from him. But if even the sun can be darkened, he writes, it is no wonder that earthly beings sometimes fail to remain bright and unstained. (This is the first of a series of three poems in which the beloved is pictured as having hurt the poet through some unspecified misdeed.)

FullmanyagloriousmorninghaveIseen
Flatterthemountaintopswithsovereigneye,
Kissingwithgoldenfacethemeadowsgreen,
4Gildingpalestreamswithheavenlyalchemy,
Anonpermitthebasestcloudstoride
Withuglyrackonhiscelestialface,
Andfromtheforlornworldhisvisagehide,
8Stealingunseentowestwiththisdisgrace.
Evensomysunoneearlymorndidshine
Withall-triumphantsplendoronmybrow,
But,outalack,hewasbutonehourmine;
12Theregioncloudhathmaskedhimfrommenow.
Yethimforthismylovenowhitdisdaineth;
Sunsoftheworldmaystainwhenheaven’ssunstaineth.

34

Synopsis:

In this sonnet the sun is again overtaken by clouds, but now the sun/beloved is accused of having betrayed the poet by promising what is not delivered. The poet writes that while the beloved’s repentance and shame do not rectify the damage done, the beloved’s tears are so precious that they serve as atonement.

Whydidstthoupromisesuchabeauteousday
Andmakemetravelforthwithoutmycloak,
Toletbasecloudso’ertakemeinmyway,
4Hidingthybrav’ryintheirrottensmoke?
’Tisnotenoughthatthroughthecloudthoubreak
Todrytherainonmystorm-beatenface,
Fornomanwellofsuchasalvecanspeak
8Thathealsthewoundandcuresnotthedisgrace.
Norcanthyshamegivephysictomygrief;
Thoughthourepent,yetIhavestilltheloss.
Th’offender’ssorrowlendsbutweakrelief
12Tohimthatbearsthestrongoffense’s⌜cross.⌝
Ah,butthosetearsarepearlwhichthylovesheds,
Andtheyarerichandransomallilldeeds.

35

Synopsis:

The poet excuses the beloved by citing examples of other naturally beautiful objects associated with things hurtful or ugly. He then accuses himself of being corrupted through excusing his beloved’s faults.

Nomorebegrievedatthatwhichthouhastdone.
Roseshavethorns,andsilverfountainsmud;
Cloudsandeclipsesstainbothmoonandsun,
4Andloathsomecankerlivesinsweetestbud.
Allmenmakefaults,andevenIinthis,
Authorizingthytrespasswithcompare,
Myselfcorruptingsalvingthyamiss,
8Excusing⌜thy⌝sinsmorethan⌜thy⌝sinsare.
FortothysensualfaultIbringinsense—
Thyadversepartyisthyadvocate—
And’gainstmyselfalawfulpleacommence.
12Suchcivilwarisinmyloveandhate
ThatIanaccessaryneedsmustbe
Tothatsweetthiefwhichsourlyrobsfromme.

36

Synopsis:

The poet accepts the fact that for the sake of the beloved’s honorable name, their lives must be separate and their love unacknowledged.

Letmeconfessthatwetwomustbetwain
Althoughourundividedlovesareone;
Soshallthoseblotsthatdowithmeremain,
4Withoutthyhelp,bymebebornealone.
Inourtwolovesthereisbutonerespect,
Thoughinourlivesaseparablespite,
Whichthoughitalternotlove’ssoleeffect,
8Yetdothitstealsweethoursfromlove’sdelight.
Imaynotevermoreacknowledgethee,
Lestmybewailèdguiltshoulddotheeshame,
Northouwithpublickindnesshonorme
12Unlessthoutakethathonorfromthyname.
Butdonotso.Ilovetheeinsuchsort
As,thoubeingmine,mineisthygoodreport.

37

Synopsis:

The poet feels crippled by misfortune but takes delight in the blessings heaped by nature and fortune on the beloved.

Asadecrepitfathertakesdelight
Toseehisactivechilddodeedsofyouth,
SoI,madelamebyfortune’sdearestspite,
4Takeallmycomfortofthyworthandtruth.
Forwhetherbeauty,birth,orwealth,orwit,
Oranyoftheseall,orall,ormore,
Entitledin⌜thy⌝partsdocrownèdsit,
8Imakemyloveengraftedtothisstore.
SothenIamnotlame,poor,nordespised
Whilstthatthisshadowdothsuchsubstancegive
ThatIinthyabundanceamsufficed
12Andbyapartofallthyglorylive.
Lookwhatisbest,thatbestIwishinthee.
ThiswishIhave,thententimeshappyme.

38

Synopsis:

The poet attributes all that is praiseworthy in his poetry to the beloved, who is his theme and inspiration.

Howcanmymusewantsubjecttoinvent
Whilethoudostbreathethatpour’stintomyverse
Thineownsweetargument,tooexcellent
4Foreveryvulgarpapertorehearse?
O,givethyselfthethanksifaughtinme
Worthyperusalstandagainstthysight,
Forwho’ssodumbthatcannotwritetothee
8Whenthouthyselfdostgiveinventionlight?
Bethouthetenthmuse,tentimesmoreinworth
Thanthoseoldninewhichrhymersinvocate;
Andhethatcallsonthee,lethimbringforth
12Eternalnumberstooutlivelongdate.
Ifmyslightmusedopleasethesecuriousdays,
Thepainbemine,butthineshallbethepraise.

39

Synopsis:

As in s.36, the poet finds reasons to excuse the fact that he and the beloved are parted. First, it is easier to praise the beloved if they are not a “single one”; and, second, absence from the beloved gives the poet leisure to contemplate their love.

O,howthyworthwithmannersmayIsing
Whenthouartallthebetterpartofme?
Whatcanmineownpraisetomineownselfbring,
4Andwhatis’tbutmineownwhenIpraisethee?
Evenforthisletusdividedlive
Andourdearlovelosenameofsingleone,
ThatbythisseparationImaygive
8Thatduetotheewhichthoudeserv’stalone.
Oabsence,whatatormentwouldstthouprove
Wereitnotthysourleisuregavesweetleave
Toentertainthetimewiththoughtsoflove,
12Whichtimeandthoughtssosweetly⌜doth⌝deceive,
Andthatthouteachesthowtomakeonetwain
Bypraisinghimherewhodothhenceremain.

40

Synopsis:

This first of three linked sonnets accuses the young man of having stolen the poet’s “love.” The poet struggles to justify and forgive the young man’s betrayal, but can go no farther than the concluding “we must not be foes.” (While the wordloveis elaborately ambiguous in this sonnet, the following two sonnets make it clear that the theft is of the poet’s mistress.)

Takeallmyloves,mylove,yea,takethemall.
Whathastthouthenmorethanthouhadstbefore?
Nolove,mylove,thatthoumaysttruelovecall;
4Allminewasthinebeforethouhadstthismore.
Then,ifformylovethoumylovereceivest,
Icannotblametheeformylovethouusest;
Butyetbeblamedifthou⌜thyself⌝deceivest
8Bywillfultasteofwhatthyselfrefusest.
Idoforgivethyrobb’ry,gentlethief,
Althoughthoustealtheeallmypoverty;
Andyetloveknowsitisagreatergrief
12Tobearlove’swrongthanhate’sknowninjury.
Lasciviousgrace,inwhomallillwellshows,
Killmewithspites,yetwemustnotbefoes.

41

Synopsis:

The poet again tries to forgive the young man, now on the grounds that the young man could hardly have been expected to refuse the woman’s seduction. The attempt to forgive fails because the young man has caused a twofold betrayal: his beauty having first seduced the woman, both he and she have then been faithless to the poet.

Thoseprettywrongsthatlibertycommits
WhenIamsometimeabsentfromthyheart,
Thybeautyandthyyearsfullwellbefits,
4Forstilltemptationfollowswherethouart.
Gentlethouart,andthereforetobewon;
Beauteousthouart,thereforetobeassailed;
Andwhenawomanwoos,whatwoman’sson
8Willsourlyleavehertillhehaveprevailed?
Ayme,butyetthoumightstmyseatforbear,
Andchidethybeautyandthystrayingyouth,
Wholeadtheeintheirrioteventhere
12Wherethouartforcedtobreakatwofoldtruth:
Hers,bythybeautytemptinghertothee,
Thine,bythybeautybeingfalsetome.

42

Synopsis:

The poet attempts to excuse the two lovers. He first argues that they love each other only because of him; he then argues that since he and the young man are one, in loving the young man, the woman actually loves the poet. The poet acknowledges, though, that all of this is mere “flattery” or self-delusion.

Thatthouhasther,itisnotallmygrief,
AndyetitmaybesaidIlovedherdearly;
Thatshehaththeeisofmywailingchief,
4Alossinlovethattouchesmemorenearly.
Lovingoffenders,thusIwillexcuseye:
Thoudostloveherbecausethouknow’stIloveher,
Andformysakeevensodothsheabuseme,
8Suff’ringmyfriendformysaketoapproveher.
IfIlosethee,mylossismylove’sgain,
Andlosingher,myfriendhathfoundthatloss;
Bothfindeachother,andIlosebothtwain,
12Andbothformysakelayonmethiscross.
Buthere’sthejoy:myfriendandIareone;
Sweetflattery!thenshelovesbutmealone.

43

Synopsis:

The poet, separated from the beloved, reflects on the paradox that because he dreams of the beloved, he sees better with his eyes closed in sleep than he does with them open in daylight. His desire, though, is to see not the dream image but the actual person.

WhenmostIwink,thendomineeyesbestsee,
Forallthedaytheyviewthingsunrespected;
ButwhenIsleep,indreamstheylookonthee
4And,darklybright,arebrightindarkdirected.
Thenthouwhoseshadowshadowsdothmakebright,
Howwouldthyshadow’sformformhappyshow
Tothecleardaywiththymuchclearerlight
8Whentounseeingeyesthyshadeshinesso!
Howwould,Isay,mineeyesbeblessèdmade
Bylookingontheeinthelivingday,
Whenindeadnight⌜thy⌝fairimperfectshade
12Throughheavysleeponsightlesseyesdothstay!
AlldaysarenightstoseetillIseethee,
Andnightsbrightdayswhendreamsdoshowtheeme.

44

Synopsis:

In this sonnet, which links with s.45to form, in effect, a two-part poem, the poet wishes that he were thought rather than flesh so that he could be with the beloved. The poet, being mortal, is instead made up of the four elements—earth, air, fire, and water. The dullest of these elements, earth and water, are dominant in him and force him to remain fixed in place, weeping “heavy tears.”

Ifthedullsubstanceofmyfleshwerethought,
Injuriousdistanceshouldnotstopmyway,
Forthen,despiteofspace,Iwouldbebrought
4Fromlimitsfarremote,wherethoudoststay.
Nomatterthenalthoughmyfootdidstand
Uponthefarthestearthremovedfromthee,
Fornimblethoughtcanjumpbothseaandland
8Assoonasthinktheplacewherehewouldbe.
But,ah,thoughtkillsmethatIamnotthought,
Toleaplargelengthsofmileswhenthouartgone,
Butthat,somuchofearthandwaterwrought,
12Imustattendtime’sleisurewithmymoan;
Receiving⌜nought⌝byelementssoslow
Butheavytears,badgesofeither’swoe.

45

Synopsis:

This sonnet, the companion to s.44, imagines the poet’s thoughts and desires as the “other two” elements—air and fire—that make up “life’s composition.” When his thoughts and desires are with the beloved, the poet, reduced to earth and water, sinks into melancholy; when his thoughts and desires return, assuring the poet of the beloved’s “fair health,” the poet is briefly joyful, until he sends them back to the beloved and again is “sad.”

Theothertwo,slightairandpurgingfire,
Arebothwiththee,whereverIabide;
Thefirstmythought,theothermydesire,
4Thesepresent-absentwithswiftmotionslide.
Forwhenthesequickerelementsaregone
Intenderembassyoflovetothee,
Mylife,beingmadeoffour,withtwoalone
8Sinksdowntodeath,oppressedwithmelancholy;
Untillife’scompositionberecured
Bythoseswiftmessengersreturnedfromthee,
Whoevenbutnowcomebackagain,assured
12Of⌜thy⌝fairhealth,recountingittome.
Thistold,Ijoy;butthen,nolongerglad,
Isendthembackagainandstraightgrowsad.

46

Synopsis:

In this first of another pair of sonnets (perhaps a witty thank-you for the gift of a miniature portrait), the poet’s eyes and his heart are in a bitter dispute about which has the legal right to the beloved’s picture. The case is brought before a jury made up of the poet’s thoughts. This jury determines that the eyes have the right to the picture, since it is the beloved’s outer image; the heart, though, has the right to the beloved’s love.

Mineeyeandheartareatamortalwar
Howtodividetheconquestofthysight.
Mineeyemyheart⌜thy⌝picture’ssightwouldbar,
4Myheartmineeyethefreedomofthatright.
Myheartdothpleadthatthouinhimdostlie,
Aclosetneverpiercedwithcrystaleyes;
Butthedefendantdoththatpleadeny,
8Andsaysinhim⌜thy⌝fairappearancelies.
To⌜’cide⌝thistitleisimpanelèd
Aquestofthoughts,alltenantstotheheart,
Andbytheirverdictisdeterminèd
12Thecleareyes’moietyandthedearheart’spart,
Asthus:mineeyes’dueis⌜thy⌝outwardpart,
Andmyheart’sright,⌜thy⌝inwardloveofheart.

47

Synopsis:

After the verdict is rendered (in s.46), the poet’s eyes and heart become allies, with the eyes sometimes inviting the heart to enjoy the picture, and the heart sometimes inviting the eyes to share in its “thoughts of love.” The beloved, though absent, is thus doubly present to the poet through the picture and through the poet’s thoughts.

Betwixtmineeyeandheartaleagueistook,
Andeachdothgoodturnsnowuntotheother.
Whenthatmineeyeisfamishedforalook,
4Orheartinlovewithsighshimselfdothsmother,
Withmylove’spicturethenmyeyedothfeast
Andtothepaintedbanquetbidsmyheart.
Anothertimemineeyeismyheart’sguest
8Andinhisthoughtsoflovedothshareapart.
So,eitherbythypictureormylove,
Thyselfawayarepresentstillwithme;
Forthou⌜no⌝fartherthanmythoughtscanstmove,
12AndIamstillwiththem,andtheywiththee;
Or,iftheysleep,thypictureinmysight
Awakesmyhearttoheart’sandeye’sdelight.

48

Synopsis:

The poet contrasts the relative ease of locking away valuable material possessions with the impossibility of safeguarding his relationship with the beloved. The beloved can be enclosed only in the poet’s heart, which cannot block the beloved’s egress nor protect against those who would steal the beloved away.

HowcarefulwasI,whenItookmyway,
Eachtrifleundertruestbarstothrust,
Thattomyuseitmightunusèdstay
4Fromhandsoffalsehood,insurewardsoftrust!
Butthou,towhommyjewelstriflesare,
Mostworthycomfort,nowmygreatestgrief,
Thoubestofdearestandmineonlycare
8Artleftthepreyofeveryvulgarthief.
TheehaveInotlockedupinanychest,
Savewherethouartnot,thoughIfeelthouart,
Withinthegentleclosureofmybreast,
12Fromwhenceatpleasurethoumaystcomeandpart;
Andeventhencethouwiltbestol’n,Ifear,
Fortruthprovesthievishforaprizesodear.

49

Synopsis:

The poet tries to prepare himself for a future in which the beloved rejects him. When that day comes, he writes, he will shield himself within the knowledge of his own worth, acknowledging that he can cite no reason in support of their love.

Againstthattime,ifeverthattimecome,
WhenIshallseetheefrownonmydefects,
Whenasthylovehathcasthisutmostsum,
4Calledtothatauditbyadvisedrespects;
Againstthattimewhenthoushaltstrangelypass
Andscarcelygreetmewiththatsunthineeye,
Whenlove,convertedfromthethingitwas,
8Shallreasonsfindofsettledgravity;
AgainstthattimedoIensconcemehere
Withintheknowledgeofmineowndesert,
Andthismyhandagainstmyselfuprear
12Toguardthelawfulreasonsonthypart.
Toleavepoormethouhastthestrengthoflaws,
SincewhytoloveIcanallegenocause.

50

Synopsis:

In this first of two linked sonnets, the poet’s unhappiness in traveling away from the beloved seems to him reproduced in the plodding steps and the groans of the horse that carries him.

HowheavydoIjourneyontheway,
WhenwhatIseek,mywearytravel’send,
Dothteachthateaseandthatreposetosay
4“Thusfarthemilesaremeasuredfromthyfriend.”
Thebeastthatbearsme,tiredwithmywoe,
Plods⌜dully⌝on,tobearthatweightinme,
Asifbysomeinstinctthewretchdidknow
8Hisriderlovednotspeed,beingmadefromthee.
Thebloodyspurcannotprovokehimon
Thatsometimesangerthrustsintohishide,
Whichheavilyheanswerswithagroan,
12Moresharptomethanspurringtohisside;
Forthatsamegroandothputthisinmymind:
Mygriefliesonwardandmyjoybehind.

51

Synopsis:

The slow-moving horse (of s.50) will have no excuse for his plodding gait on the return journey, for which even the fastest horse, the poet realizes, will be too slow. Returning to the beloved, desire and love will outrun any horse.

Thuscanmyloveexcusetheslowoffense
OfmydullbearerwhenfromtheeIspeed:
Fromwherethouart,whyshouldIhastemethence?
4TillIreturn,ofpostingisnoneed.
O,whatexcusewillmypoorbeastthenfind
Whenswiftextremitycanseembutslow?
ThenshouldIspur,thoughmountedonthewind;
8InwingèdspeednomotionshallIknow.
Thencannohorsewithmydesirekeeppace;
Thereforedesire,of⌜perfect’st⌝lovebeingmade,
Shallneighnodullfleshinhisfieryrace.
12Butloveforlovethusshallexcusemyjade:
“Sincefromtheegoinghewentwillfulslow,
TowardstheeI’llrun,andgivehimleavetogo.”

52

Synopsis:

The poet likens himself to a rich man who visits his treasures rarely so that they remain for him a source of pleasure. The poet’s infrequent meetings with the beloved, he argues, are, like rare feasts or widely spaced jewels, the more precious for their rarity.

SoamIastherichwhoseblessèdkey
Canbringhimtohissweetup-lockèdtreasure,
Thewhichhewillnotev’ryhoursurvey,
4Forbluntingthefinepointofseldompleasure.
Thereforearefeastssosolemnandsorare,
Sinceseldomcominginthelongyearset,
Likestonesofworththeythinlyplacèdare,
8Orcaptainjewelsinthecarcanet.
Soisthetimethatkeepsyouasmychest,
Orasthewardrobewhichtherobedothhide
Tomakesomespecialinstantspecialblessed
12Bynewunfoldinghisimprisonedpride.
Blessèdareyouwhoseworthinessgivesscope,
Beinghad,totriumph,beinglacked,tohope.

53

Synopsis:

Using language from Neoplatonism, the poet praises the beloved both as the essence of beauty (its very Idea, which is only imperfectly reflected in lesser beauties) and as the epitome of constancy.

Whatisyoursubstance,whereofareyoumade,
Thatmillionsofstrangeshadowsonyoutend?
Sinceeveryonehath,everyone,oneshade,
4Andyou,butone,caneveryshadowlend.
DescribeAdonis,andthecounterfeit
Ispoorlyimitatedafteryou;
OnHelen’scheekallartofbeautyset,
8AndyouinGreciantiresarepaintednew.
Speakofthespringandfoisonoftheyear;
Theonedothshadowofyourbeautyshow,
Theotherasyourbountydothappear,
12Andyouineveryblessèdshapeweknow.
Inallexternalgraceyouhavesomepart,
Butyoulikenone,noneyou,forconstantheart.

54

Synopsis:

Here the beloved’s truth is compared to the fragrance in the rose. As that fragrance is distilled into perfume, so the beloved’s truth distills in verse.

O,howmuchmoredothbeautybeauteousseem
Bythatsweetornamentwhichtruthdothgive.
Theroselooksfair,butfairerweitdeem
4Forthatsweetodorwhichdothinitlive.
Thecankerbloomshavefullasdeepadye
Astheperfumèdtinctureoftheroses,
Hangonsuchthorns,andplayaswantonly
8Whensummer’sbreaththeirmaskèdbudsdiscloses;
But,fortheirvirtueonlyistheirshow,
Theyliveunwooedandunrespectedfade,
Dietothemselves.Sweetrosesdonotso;
12Oftheirsweetdeathsaresweetestodorsmade.
Andsoofyou,beauteousandlovelyyouth,
Whenthatshallvade,byversedistilsyourtruth.

55

Synopsis:

Continuing the idea of the beloved’s distillation into poetry (in the couplet of s.54), the poet now claims that his verse will be a “living record” in which the beloved will “shine... bright” until Doomsday.

Notmarblenorthegilded⌜monuments⌝
Ofprincesshalloutlivethispowerfulrhyme,
Butyoushallshinemorebrightinthesecontents
4Thanunsweptstonebesmearedwithslu*ttishtime.
Whenwastefulwarshallstatuesoverturn,
Andbroilsrootouttheworkofmasonry,
NorMarshisswordnorwar’squickfireshallburn
8Thelivingrecordofyourmemory.
’Gainstdeathandallobliviousenmity
Shallyoupaceforth;yourpraiseshallstillfindroom
Evenintheeyesofallposterity
12Thatwearthisworldouttotheendingdoom.
So,tillthejudgmentthatyourselfarise,
Youliveinthis,anddwellinlovers’eyes.

56

Synopsis:

The poet addresses the spirit of love and then the beloved, urging that love be reinvigorated and that the present separation of the lovers serve to renew their love’s intensity.

Sweetlove,renewthyforce.Beitnotsaid
Thyedgeshouldblunterbethanappetite,
Whichbuttodaybyfeedingisallayed,
4Tomorrowsharpenedinhisformermight.
So,love,bethou.Althoughtodaythoufill
Thyhungryeyeseventilltheywinkwithfullness,
Tomorrowseeagain,anddonotkill
8Thespiritoflovewithaperpetualdullness.
Letthissadint’rimliketheoceanbe
Whichpartstheshorewheretwocontractednew
Comedailytothebanks,that,whentheysee
12Returnoflove,moreblessedmaybetheview.
⌜Or⌝callitwinter,whichbeingfullofcare
Makessummer’swelcome,thricemorewished,morerare.

57

Synopsis:

In this and the following sonnet, the poet presents his relationship with the beloved as that of servant and master. As the beloved’s servant, the poet describes himself (with barely suppressed bitterness) as having no life or wishes of his own as he waits like a “sad slave” for the commands of his “sovereign.”

Beingyourslave,whatshouldIdobuttend
Uponthehoursandtimesofyourdesire?
Ihavenoprecioustimeatalltospend
4Norservicestodotillyourequire.
NordareIchidetheworld-without-endhour
WhilstI,mysovereign,watchtheclockforyou,
Northinkthebitternessofabsencesour
8Whenyouhavebidyourservantonceadieu.
NordareIquestionwithmyjealousthought
Whereyoumaybe,oryouraffairssuppose,
But,likeasadslave,stayandthinkofnought
12Savewhereyouarehowhappyyoumakethose.
Sotrueafoolislovethatinyourwill,
Thoughyoudoanything,hethinksnoill.

58

Synopsis:

This sonnet repeats the ideas and some of the language of s.57, though the pain of waiting upon (and waiting for) the beloved and asking nothing in return seems even more intense in the present poem.

Thatgodforbid,thatmademefirstyourslave,
Ishouldinthoughtcontrolyourtimesofpleasure,
Oratyourhandth’accountofhourstocrave,
4Beingyourvassalboundtostayyourleisure.
O,letmesuffer,beingatyourbeck,
Th’imprisonedabsenceofyourliberty,
Andpatience,tametosufferance,bideeachcheck
8Withoutaccusingyouofinjury.
Bewhereyoulist,yourcharterissostrong
Thatyouyourselfmayprivilegeyourtime
Towhatyouwill;toyouitdothbelong
12Yourselftopardonofself-doingcrime.
Iamtowait,thoughwaitingsobehell,
Notblameyourpleasure,beitillorwell.

59

Synopsis:

The poet here plays with the idea of history as cyclical and with the proverb “There is nothing new under the sun.” If he could go back in time, he writes, he could see how the beloved’s beauty was praised in the distant past and thus judge whether the world had progressed, regressed, or stayed the same.

Iftherebenothingnew,butthatwhichis
Hathbeenbefore,howareourbrainsbeguiled,
Which,laboringforinvention,bearamiss
4Thesecondburdenofaformerchild.
O,thatrecordcouldwithabackwardlook,
Evenoffivehundredcoursesofthesun,
Showmeyourimageinsomeantiquebook,
8Sincemindatfirstincharacterwasdone,
ThatImightseewhattheoldworldcouldsay
Tothiscomposèdwonderofyourframe;
Whetherwearemended,orwhe’erbetterthey,
12Orwhetherrevolutionbethesame.
O,sureIamthewitsofformerdays
Tosubjectsworsehavegivenadmiringpraise.

60

Synopsis:

The poet meditates on life’s inevitable course through maturity to death. Everything, he says, is a victim of Time’s scythe. Only his poetry will stand against Time, keeping alive his praise of the beloved.

Likeasthewavesmaketowardsthepebbledshore,
Sodoourminuteshastentotheirend,
Eachchangingplacewiththatwhichgoesbefore;
4Insequenttoilallforwardsdocontend.
Nativity,onceinthemainoflight,
Crawlstomaturity,wherewithbeingcrowned,
Crookèdeclipses’gainsthisgloryfight,
8AndTimethatgavedothnowhisgiftconfound.
Timedothtransfixtheflourishsetonyouth
Anddelvestheparallelsinbeauty’sbrow,
FeedsontheraritiesofNature’struth,
12Andnothingstandsbutforhisscythetomow.
Andyettotimesinhopemyverseshallstand,
Praisingthyworth,despitehiscruelhand.

61

Synopsis:

The poet first wonders if the beloved is deliberately keeping him awake by sending dream images to spy on him, but then admits it is his own devotion and jealousy that will not let him sleep.

Isitthywillthyimageshouldkeepopen
Myheavyeyelidstothewearynight?
Dostthoudesiremyslumbersshouldbebroken
4Whileshadowsliketotheedomockmysight?
Isitthyspiritthatthousend’stfromthee
Sofarfromhomeintomydeedstopry,
Tofindoutshamesandidlehoursinme,
8Thescopeandtenorofthyjealousy?
O,no.Thylove,thoughmuch,isnotsogreat.
Itismylovethatkeepsmineeyeawake,
Mineowntruelovethatdothmyrestdefeat
12Toplaythewatchmaneverforthysake.
FortheewatchIwhilstthoudostwakeelsewhere,
Frommefaroff,withothersalltoonear.

62

Synopsis:

The poet accuses himself of supreme vanity in that he thinks so highly of himself. He then admits that the “self” he holds in such esteem is not his physical self but his “other self,” the beloved.

Sinofself-lovepossessethallmineeye
Andallmysoulandallmyeverypart;
Andforthissinthereisnoremedy,
4Itissogroundedinwardinmyheart.
Methinksnofacesograciousisasmine,
Noshapesotrue,notruthofsuchaccount,
Andformyselfmineownworthdodefine
8AsIallotherinallworthssurmount.
Butwhenmyglassshowsmemyselfindeed
Beatedandchoppedwithtannedantiquity,
Mineownself-lovequitecontraryIread;
12Selfsoself-lovingwereiniquity.
’Tisthee,myself,thatformyselfIpraise,
Paintingmyagewithbeautyofthydays.

63

Synopsis:

By preserving the youthful beauty of the beloved in poetry, the poet makes preparation for the day that the beloved will himself be old.

Againstmyloveshallbe,asIamnow,
WithTime’sinjurioushandcrushedando’erworn;
Whenhourshavedrainedhisbloodandfilledhisbrow
4Withlinesandwrinkles;whenhisyouthfulmorn
Hathtraveledontoage’ssteepynight,
Andallthosebeautieswhereofnowhe’sking
Arevanishing,orvanishedoutofsight,
8Stealingawaythetreasureofhisspring;
ForsuchatimedoInowfortify
Againstconfoundingage’scruelknife,
Thatheshallnevercutfrommemory
12Mysweetlove’sbeauty,thoughmylover’slife.
Hisbeautyshallintheseblacklinesbeseen,
Andtheyshalllive,andheinthemstillgreen.

64

Synopsis:

Signs of the destructive power of time and decay—such as fallen towers and eroded beaches—force the poet to admit that the beloved will also be lost to him and to mourn this anticipated loss.

WhenIhaveseenbyTime’sfellhanddefaced
Therichproudcostofoutwornburiedage;
WhensometimeloftytowersIseedown-razed
4Andbrasseternalslavetomortalrage;
WhenIhaveseenthehungryoceangain
Advantageonthekingdomoftheshore,
Andthefirmsoilwinofthewat’rymain,
8Increasingstorewithlossandlosswithstore;
WhenIhaveseensuchinterchangeofstate,
Orstateitselfconfoundedtodecay,
Ruinhathtaughtmethustoruminate,
12ThatTimewillcomeandtakemyloveaway.
Thisthoughtisasadeath,whichcannotchoose
Butweeptohavethatwhichitfearstolose.

65

Synopsis:

In the face of the terrible power of Time, how, the poet asks, can beauty survive? And how can the beloved, most beautiful of all, be protected from Time’s injury? The only protection, he decides, lies in the lines of his poetry.

Sincebrass,norstone,norearth,norboundlesssea
Butsadmortalityo’erswaystheirpower,
Howwiththisrageshallbeautyholdaplea,
4Whoseactionisnostrongerthanaflower?
O,howshallsummer’shoneybreathholdout
Againstthewrackfulsiegeofbatt’ringdays,
Whenrocksimpregnablearenotsostout
8Norgatesofsteelsostrong,butTimedecays?
O,fearfulmeditation!Where,alack,
ShallTime’sbestjewelfromTime’schestliehid?
Orwhatstronghandcanholdhisswiftfootback,
12Orwhohisspoil⌜of⌝beautycanforbid?
O,none,unlessthismiraclehavemight,
Thatinblackinkmylovemaystillshinebright.

66

Synopsis:

The poet lists examples of the societal wrongs that have made him so weary of life that he would wish to die, except that he would thereby desert the beloved.

Tiredwithallthese,forrestfuldeathIcry:
As,tobeholddesertabeggarborn,
Andneedynothingtrimmedinjollity,
4Andpurestfaithunhappilyforsworn,
Andgildedhonorshamefullymisplaced,
Andmaidenvirtuerudelystrumpeted,
Andrightperfectionwrongfullydisgraced,
8Andstrengthbylimpingswaydisablèd,
Andartmadetongue-tiedbyauthority,
Andfolly,doctor-like,controllingskill,
Andsimpletruthmiscalledsimplicity,
12Andcaptivegoodattendingcaptainill.
Tiredwithallthese,fromthesewouldIbegone,
Savethat,todie,Ileavemylovealone.

67

Synopsis:

In this first of two linked sonnets, the poet asks why the beautiful young man should live in a society so corrupt, since his very presence gives it legitimacy. He concludes that Nature is keeping the young man alive as a reminder of the world as it used to be.

Ah,whereforewithinfectionshouldhelive,
Andwithhispresencegraceimpiety,
Thatsinbyhimadvantageshouldachieve
4Andlaceitselfwithhissociety?
Whyshouldfalsepaintingimitatehischeek
Andstealdeadseeingofhislivinghue?
Whyshouldpoorbeautyindirectlyseek
8Rosesofshadow,sincehisroseistrue?
Whyshouldhelive,nowNaturebankroutis,
Beggaredofbloodtoblushthroughlivelyveins,
Forshehathnoexchequernowbuthis,
12And,proudofmany,livesuponhisgains?
O,himshestores,toshowwhatwealthshehad
Indayslongsince,beforetheselastsobad.

68

Synopsis:

Continuing the argument of s.67, the poet sets the natural beauty of the young man against the “false art” of those whose beauty depends on cosmetics and wigs.

Thusishischeekthemapofdaysoutworn,
Whenbeautylivedanddiedasflowersdonow,
Beforethesebastardsignsoffairwereborne,
4Ordurstinhabitonalivingbrow;
Beforethegoldentressesofthedead,
Therightofsepulchers,wereshornaway
Toliveasecondlifeonsecondhead,
8Erebeauty’sdeadfleecemadeanothergay.
Inhimthoseholyantiquehoursareseen,
Withoutallornament,itselfandtrue,
Makingnosummerofanother’sgreen,
12Robbingnooldtodresshisbeautynew.
AndhimasforamapdothNaturestore,
Toshowfalseartwhatbeautywasofyore.

69

Synopsis:

The poet tells the young man that while the world praises his outward beauty, those who look into his inner being (as reflected in his deeds) speak of him in quite different terms. They ground their accusations in his having become too “common.”

Thosepartsoftheethattheworld’seyedothview
Wantnothingthatthethoughtofheartscanmend.
Alltongues,thevoiceofsouls,givetheethat⌜due,⌝
4Utt’ringbaretruth,evensoasfoescommend.
⌜Thy⌝outwardthuswithoutwardpraiseiscrowned,
Butthosesametonguesthatgivetheesothineown
Inotheraccentsdothispraiseconfound
8Byseeingfartherthantheeyehathshown.
Theylookintothebeautyofthymind,
Andthat,inguess,theymeasurebythydeeds;
Then,churls,theirthoughts,althoughtheireyeswerekind,
12Tothyfairfloweraddtheranksmellofweeds.
Butwhythyodormatchethnotthyshow,
Thesoilisthis,thatthoudostcommongrow.

70

Synopsis:

The poet tells the young man that the attacks on his reputation do not mean that he is flawed, since beauty always provokes such attacks. (This sonnet may contradict s.69, or may simply elaborate on it.)

Thatthou⌜art⌝blamedshallnotbethydefect,
Forslander’smarkwaseveryetthefair.
Theornamentofbeautyissuspect,
4Acrowthatfliesinheaven’ssweetestair.
Sothoubegood,slanderdothbutapprove
⌜Thy⌝worththegreater,beingwooedoftime,
Forcankervicethesweetestbudsdothlove,
8Andthoupresent’stapureunstainèdprime.
Thouhastpassedbytheambushofyoungdays,
Eithernotassailed,orvictorbeingcharged;
Yetthisthypraisecannotbesothypraise
12Totieupenvy,evermoreenlarged.
Ifsomesuspectofillmaskednotthyshow,
Thenthoualonekingdomsofheartsshouldstowe.

71

Synopsis:

In this first of a series of four sonnets in which the poet addresses his own death and its effect on the beloved, he here urges the beloved to forget him once he is gone.

NolongermournformewhenIamdead
Thanyoushallhearthesurlysullenbell
GivewarningtotheworldthatIamfled
4Fromthisvileworldwithvilestwormstodwell.
Nay,ifyoureadthisline,remembernot
Thehandthatwritit,forIloveyouso
ThatIinyoursweetthoughtswouldbeforgot,
8Ifthinkingonmethenshouldmakeyouwoe.
O,if,Isay,youlookuponthisverse
WhenI,perhaps,compoundedamwithclay,
Donotsomuchasmypoornamerehearse,
12Butletyourloveevenwithmylifedecay,
Lestthewiseworldshouldlookintoyourmoan
AndmockyouwithmeafterIamgone.

72

Synopsis:

Continuing from s.71, this sonnet explains that the beloved can defend loving the poet only by speaking falsely, by giving the poet more credit than he deserves. The beloved is urged instead to forget the poet once he is dead.

O,lesttheworldshouldtaskyoutorecite
Whatmeritlivedinmethatyoushouldlove,
Aftermydeath,dearlove,forgetmequite,
4Foryouinmecannothingworthyprove;
Unlessyouwoulddevisesomevirtuouslie,
Todomoreformethanmineowndesert,
AndhangmorepraiseupondeceasèdI
8Thannigg*rdtruthwouldwillinglyimpart.
O,lestyourtruelovemayseemfalseinthis,
Thatyouforlovespeakwellofmeuntrue,
Mynamebeburiedwheremybodyis
12Andlivenomoretoshamenormenoryou.
ForIamshamedbythatwhichIbringforth,
Andsoshouldyou,tolovethingsnothingworth.

73

Synopsis:

The poet describes himself as nearing the end of his life. He imagines the beloved’s love for him growing stronger in the face of that death.

Thattimeofyearthoumaystinmebehold
Whenyellowleaves,ornone,orfew,dohang
Uponthoseboughswhichshakeagainstthecold,
4Bareruinedchoirswherelatethesweetbirdssang.
Inmethousee’stthetwilightofsuchday
Asaftersunsetfadethinthewest,
Whichbyandbyblacknightdothtakeaway,
8Death’ssecondself,thatsealsupallinrest.
Inmethousee’sttheglowingofsuchfire
Thatontheashesofhisyouthdothlie,
Asthedeath-bedwhereonitmustexpire,
12Consumedwiththatwhichitwasnourishedby.
Thisthouperceiv’st,whichmakesthylovemorestrong,
Tolovethatwellwhichthoumustleaveerelong.

74

Synopsis:

In this sonnet, which continues from s.73, the poet consoles the beloved by telling him that only the poet’s body will die; the spirit of the poet will continue to live in the poetry, which is the beloved’s.

Butbecontentedwhenthatfellarrest
Withoutallbailshallcarrymeaway,
Mylifehathinthislinesomeinterest,
4Whichformemorialstillwiththeeshallstay.
Whenthoureviewestthis,thoudostreview
Theverypartwasconsecratetothee.
Theearthcanhavebutearth,whichishisdue;
8Myspiritisthine,thebetterpartofme.
Sothenthouhastbutlostthedregsoflife,
Thepreyofworms,mybodybeingdead,
Thecowardconquestofawretch’sknife,
12Toobaseoftheetoberememberèd.
Theworthofthatisthatwhichitcontains,
Andthatisthis,andthiswiththeeremains.

75

Synopsis:

The poet compares himself to a miser with his treasure. He finds the beloved so essential to his life that he lives in a constant tension between glorying in that treasure and fearing its loss.

Soareyoutomythoughtsasfoodtolife,
Orassweet-seasonedshowersaretotheground;
AndforthepeaceofyouIholdsuchstrife
4As’twixtamiserandhiswealthisfound:
Nowproudasanenjoyer,andanon
Doubtingthefilchingagewillstealhistreasure;
Nowcountingbesttobewithyoualone,
8Thenbetteredthattheworldmayseemypleasure.
Sometimeallfullwithfeastingonyoursight,
Andbyandbycleanstarvèdforalook;
Possessingorpursuingnodelight
12Savewhatishadormustfromyoubetook.
ThusdoIpineandsurfeitdaybyday,
Orgluttoningonall,orallaway.

76

Synopsis:

The poet poses the question of why his poetry never changes but keeps repeating the same language and technique. The answer, he says, is that his theme never changes; he always writes of the beloved and of love.

Whyismyversesobarrenofnewpride,
Sofarfromvariationorquickchange?
WhywiththetimedoInotglanceaside
4Tonew-foundmethodsandtocompoundsstrange?
WhywriteIstillallone,everthesame,
Andkeepinventioninanotedweed,
Thateveryworddothalmost⌜tell⌝myname,
8Showingtheirbirthandwheretheydidproceed?
O,know,sweetlove,Ialwayswriteofyou,
Andyouandlovearestillmyargument;
Soallmybestisdressingoldwordsnew,
12Spendingagainwhatisalreadyspent.
Forasthesunisdailynewandold,
Soismylove,stilltellingwhatistold.

77

Synopsis:

This sonnet seems to have been written to accompany the gift of a blank notebook. The poet encourages the beloved to write down the thoughts that arise from observing a mirror and a sundial and the lessons they teach about the brevity of life.

Thyglasswillshowtheehowthybeautieswear,
Thydialhowthypreciousminuteswaste;
Thevacantleavesthymind’simprintwillbear,
4Andofthisbookthislearningmaystthoutaste:
Thewrinkleswhichthyglasswilltrulyshow,
Ofmouthèdgraveswillgivetheememory;
Thoubythydial’sshadystealthmaystknow
8Time’sthievishprogresstoeternity.
Lookwhatthymemorycannotcontain
Committothesewaste⌜blanks,⌝andthoushaltfind
Thosechildrennursed,deliveredfromthybrain,
12Totakeanewacquaintanceofthymind.
Theseoffices,sooftasthouwiltlook,
Shallprofittheeandmuchenrichthybook.

78

Synopsis:

In this first of a series of three sonnets in which the poet expresses his concern that others are writing verses praising the beloved, the other poets are presented as learned and skillful and thus in no need of the beloved, in contrast to the poet speaking here.

SoofthaveIinvokedtheeformymuse
Andfoundsuchfairassistanceinmyverse
Aseveryalienpenhathgotmyuse
4Andundertheetheirpoesydisperse.
Thineeyes,thattaughtthedumbonhightosing
Andheavyignorancealofttofly,
Haveaddedfeatherstothelearnèd’swing
8Andgivengraceadoublemajesty.
YetbemostproudofthatwhichIcompile,
Whoseinfluenceisthineandbornofthee.
Inothers’worksthoudostbutmendthestyle,
12Andartswiththysweetgracesgracèdbe.
Butthouartallmyartanddostadvance
Ashighaslearningmyrudeignorance.

79

Synopsis:

In this sonnet, which follows directly from s.78, the poet laments the fact that another poet has taken his place. He urges the beloved to recognize that all of the beauty, grace, and virtue found in the rival’s praise is taken from the beloved, so that the rival deserves no thanks.

WhilstIalonedidcalluponthyaid,
Myversealonehadallthygentlegrace;
Butnowmygraciousnumbersaredecayed,
4Andmysickmusedothgiveanotherplace.
Igrant,sweetlove,thylovelyargument
Deservesthetravailofaworthierpen;
Yetwhatoftheethypoetdothinvent
8Herobstheeofandpaysittheeagain.
Helendstheevirtue,andhestolethatword
Fromthybehavior;beautydothhegive
Andfounditinthycheek.Hecanafford
12Nopraisetotheebutwhatintheedothlive.
Thenthankhimnotforthatwhichhedothsay,
Sincewhatheowestheethouthyselfdostpay.

80

Synopsis:

The poet admits his inferiority to the one who is now writing about the beloved, portraying the two poets as ships sailing on the ocean of the beloved’s worth—the rival poet as large and splendid and himself as a small boat that risks being wrecked by love.

O,howIfaintwhenIofyoudowrite,
Knowingabetterspiritdothuseyourname,
Andinthepraisethereofspendsallhismight,
4Tomakemetongue-tiedspeakingofyourfame.
Butsinceyourworth,wideastheoceanis,
Thehumbleastheproudestsaildothbear,
Mysaucybark,inferiorfartohis,
8Onyourbroadmaindothwillfullyappear.
Yourshallowesthelpwillholdmeupafloat
Whilstheuponyoursoundlessdeepdothride,
Or,beingwracked,Iamaworthlessboat,
12Heoftallbuildingandofgoodlypride.
Then,ifhethriveandIbecastaway,
Theworstwasthis:mylovewasmydecay.

81

Synopsis:

The poet, imagining a future in which both he and the beloved are dead, sees himself as being completely forgotten while the beloved will be forever remembered because of the poet’s verse.

OrIshallliveyourepitaphtomake
OryousurvivewhenIinearthamrotten.
Fromhenceyourmemorydeathcannottake,
4Althoughinmeeachpartwillbeforgotten.
Yournamefromhenceimmortallifeshallhave,
ThoughI,oncegone,toalltheworldmustdie.
TheEarthcanyieldmebutacommongrave,
8Whenyouentombèdinmen’seyesshalllie.
Yourmonumentshallbemygentleverse,
Whicheyesnotyetcreatedshallo’erread;
Andtonguestobeyourbeingshallrehearse
12Whenallthebreathersofthisworldaredead.
Youstillshalllive—suchvirtuehathmypen—
Wherebreathmostbreathes,eveninthemouthsofmen.

82

Synopsis:

In this first of two linked sonnets, the poet again addresses the fact that other poets write in praise of the beloved. The beloved is free to read them, but their poems do not represent the beloved truly.

Igrantthouwertnotmarriedtomymuse,
Andthereforemaystwithoutattainto’erlook
Thededicatedwordswhichwritersuse
4Oftheirfairsubject,blessingeverybook.
Thouartasfairinknowledgeasinhue,
Findingthyworthalimitpastmypraise,
Andthereforeartenforcedtoseekanew
8Somefresherstampofthetime-betteringdays.
Anddoso,love;yetwhentheyhavedevised
Whatstrainèdtouchesrhetoriccanlend,
Thou,trulyfair,werttrulysympathized
12Intrueplainwordsbythytrue-tellingfriend.
Andtheirgrosspaintingmightbebetterused
Wherecheeksneedblood;intheeitisabused.

83

Synopsis:

This sonnet continues from s.82, but the poet has learned to his dismay that his plain speaking (and/or his silence) has offended the beloved. He argues that no words can match the beloved’s beauty.

Ineversawthatyoudidpaintingneed
Andthereforetoyourfairnopaintingset.
Ifound,orthoughtIfound,youdidexceed
4Thebarrentenderofapoet’sdebt.
AndthereforehaveIsleptinyourreport,
Thatyouyourself,beingextant,wellmightshow
Howfaramodernquilldothcometooshort,
8Speakingofworth,whatworthinyoudothgrow.
Thissilenceformysinyoudidimpute,
Whichshallbemostmyglory,beingdumb,
ForIimpairnotbeauty,beingmute,
12Whenotherswouldgivelifeandbringatomb.
Therelivesmorelifeinoneofyourfaireyes
Thanbothyourpoetscaninpraisedevise.

84

Synopsis:

The poet reiterates his claim that poems praising the beloved should reflect the beloved’s perfections rather than exaggerate them. He accuses the beloved of caring too much for praise.

Whoisitthatsaysmost,whichcansaymore
Thanthisrichpraise,thatyoualoneareyou,
Inwhoseconfineimmurèdisthestore
4Whichshouldexamplewhereyourequalgrew?
Leanpenurywithinthatpendothdwell
Thattohissubjectlendsnotsomesmallglory,
Buthethatwritesofyou,ifhecantell
8Thatyouareyou,sodignifieshisstory.
Lethimbutcopywhatinyouiswrit,
Notmakingworsewhatnaturemadesoclear,
Andsuchacounterpartshallfamehiswit,
12Makinghisstyleadmirèdeverywhere.
Youtoyourbeauteousblessingsaddacurse,
Beingfondonpraise,whichmakesyourpraisesworse.

85

Synopsis:

In this first of two linked sonnets, the poet says that his silence in the face of others’ extravagant praise of the beloved is only outward muteness. His thoughts are filled with love.

Mytongue-tiedmuseinmannersholdsherstill
Whilecommentsofyourpraise,richlycompiled,
Reservetheircharacterwithgoldenquill
4Andpreciousphrasebyallthemusesfiled.
Ithinkgoodthoughtswhilstotherwritegoodwords,
Andlikeunletteredclerkstillcryamen
Toeveryhymnthatablespiritaffords
8Inpolishedformofwell-refinèdpen.
Hearingyoupraised,Isay“’Tisso,’tistrue,”
Andtothemostofpraiseaddsomethingmore;
Butthatisinmythought,whoselovetoyou,
12Thoughwordscomehindmost,holdshisrankbefore.
Thenothersforthebreathofwordsrespect,
Meformydumbthoughts,speakingineffect.

86

Synopsis:

This final “rival poet” sonnet continues from s.85but echoes the imagery of s.80. The poet explains that his silence is not from fear of his rival, but results from having nothing to write about, now that the rival’s verse has appropriated the beloved’s favor.

Wasittheproudfullsailofhisgreatverse,
Boundfortheprizeofall-too-preciousyou,
Thatdidmyripethoughtsinmybraininhearse,
4Makingtheirtombthewombwhereintheygrew?
Wasithisspirit,byspiritstaughttowrite
Aboveamortalpitch,thatstruckmedead?
No,neitherhe,norhiscompeersbynight
8Givinghimaid,myverseastonishèd.
He,northataffablefamiliarghost
Whichnightlygullshimwithintelligence,
Asvictorsofmysilencecannotboast;
12Iwasnotsickofanyfearfromthence.
Butwhenyourcountenancefilleduphisline,
ThenlackedImatter;thatenfeebledmine.

87

Synopsis:

The poet writes as if his relationship with the beloved has ended—and as if that relationship had been a wonderful dream from which he has now waked.

Farewell,thouarttoodearformypossessing,
Andlikeenoughthouknow’stthyestimate.
Thecharterofthyworthgivestheereleasing;
4Mybondsintheearealldeterminate.
ForhowdoIholdtheebutbythygranting,
Andforthatricheswhereismydeserving?
Thecauseofthisfairgiftinmeiswanting,
8Andsomypatentbackagainisswerving.
Thyselfthougav’st,thyownworththennotknowing,
Orme,towhomthougav’stit,elsemistaking;
Sothygreatgift,uponmisprisiongrowing,
12Comeshomeagain,onbetterjudgmentmaking.
ThushaveIhadtheeasadreamdothflatter,
Insleepaking,butwakingnosuchmatter.

88

Synopsis:

In this first of three linked sonnets in which the poet has been (or imagines himself someday to be) repudiated by the beloved, the poet offers to sacrifice himself and his reputation in order to make the now-estranged beloved look better.

Whenthoushaltbedisposedtosetmelight
Andplacemymeritintheeyeofscorn,
UponthysideagainstmyselfI’llfight
4Andprovetheevirtuous,thoughthouartforsworn.
Withmineownweaknessbeingbestacquainted,
UponthypartIcansetdownastory
OffaultsconcealedwhereinIamattainted,
8Thatthou,inlosingme,shallwinmuchglory;
AndIbythiswillbeagainertoo;
Forbendingallmylovingthoughtsonthee,
TheinjuriesthattomyselfIdo,
12Doingtheevantage,double-vantageme.
Suchismylove,totheeIsobelong,
That,forthyright,myselfwillbearallwrong.

89

Synopsis:

This sonnet is a detailed extension of the closing line of s.88. The poet here lists the ways he will make himself look bad in order to make the beloved look good.

Saythatthoudidstforsakemeforsomefault,
AndIwillcommentuponthatoffense;
SpeakofmylamenessandIstraightwillhalt,
4Againstthyreasonsmakingnodefense.
Thoucanstnot,love,disgracemehalfsoill,
Tosetaformupondesirèdchange,
AsI’llmyselfdisgrace,knowingthywill;
8Iwillacquaintancestrangleandlookstrange,
Beabsentfromthywalks,andinmytongue
Thysweetbelovèdnamenomoreshalldwell,
LestI,toomuchprofane,shoulddoitwrong
12Andhaplyofouroldacquaintancetell.
Forthee,againstmyselfI’llvowdebate,
ForImustne’erlovehimwhomthoudosthate.

90

Synopsis:

Continuing from the final line of s.89, this sonnet begs the beloved to deliver quickly any terrible blow that awaits the poet. Then the other blows being dealt by the world will seem as nothing.

Thenhatemewhenthouwilt,ifever,now,
Now,whiletheworldisbentmydeedstocross,
Joinwiththespiteoffortune,makemebow,
4Anddonotdropinforanafterloss.
Ah,donot,whenmyhearthath’scapedthissorrow,
Comeintherearwardofaconqueredwoe;
Givenotawindynightarainymorrow,
8Tolingeroutapurposedoverthrow.
Ifthouwiltleaveme,donotleavemelast,
Whenotherpettygriefshavedonetheirspite,
Butintheonsetcome;so⌜shall⌝Itaste
12Atfirsttheveryworstoffortune’smight;
Andotherstrainsofwoe,whichnowseemwoe,
Comparedwithlossoftheewillnotseemso.

91

Synopsis:

In this first of three linked sonnets, the poet sets the love of the beloved above every other treasure, but then acknowledges that that love can be withdrawn.

Somegloryintheirbirth,someintheirskill,
Someintheirwealth,someintheirbody’sforce,
Someintheirgarments,thoughnewfangledill,
4Someintheirhawksandhounds,someintheirhorse;
Andeveryhumorhathhisadjunctpleasure,
Whereinitfindsajoyabovetherest.
Buttheseparticularsarenotmymeasure;
8AlltheseIbetterinonegeneralbest.
Thyloveis⌜better⌝thanhighbirthtome,
Richerthanwealth,prouderthangarments’cost,
Ofmoredelightthanhawksorhorsesbe;
12Andhavingthee,ofallmen’sprideIboast.
Wretchedinthisalone,thatthoumaysttake
Allthisaway,andmemostwretchedmake.

92

Synopsis:

Continuing the argument from s.91, the poet, imagining the loss of the beloved, realizes gladly that since even the smallest perceived diminishment of that love would cause him instantly to die, he need not fear living with the pain of loss. But, he asks, what if the beloved is false but gives no sign of defection?

Butdothyworsttostealthyselfaway,
Fortermoflifethouartassurèdmine,
Andlifenolongerthanthylovewillstay,
4Foritdependsuponthatloveofthine.
ThenneedInottofeartheworstofwrongs
Whenintheleastofthemmylifehathend;
Iseeabetterstatetomebelongs
8Thanthatwhichonthyhumordothdepend.
Thoucanstnotvexmewithinconstantmind,
Sincethatmylifeonthyrevoltdothlie.
O,whatahappytitledoIfind,
12Happytohavethylove,happytodie!
Butwhat’ssoblessèd-fairthatfearsnoblot?
Thoumaystbefalse,andyetIknowitnot.

93

Synopsis:

The poet explores the implications of the final line of s.92. It would be easy for the beloved to be secretly false, he realizes, because the beloved is so unfailingly beautiful and (apparently) loving.

SoshallIlive,supposingthouarttrue,
Likeadeceivèdhusband;solove’sface
Maystillseemlovetome,thoughalterednew;
4Thylookswithme,thyheartinotherplace.
Fortherecanlivenohatredinthineeye;
ThereforeinthatIcannotknowthychange.
Inmany’slooks,thefalseheart’shistory
8Iswritinmoodsandfrownsandwrinklesstrange.
Butheaveninthycreationdiddecree
Thatinthyfacesweetloveshouldeverdwell;
Whate’erthythoughtsorthyheart’sworkingsbe,
12Thylooksshouldnothingthencebutsweetnesstell.
HowlikeEve’sappledoththybeautygrow,
Ifthysweetvirtueanswernotthyshow.

94

Synopsis:

This sonnet describes a category of especially blessed and powerful people who appear to exert complete control over their lives and themselves. These persons are then implicitly compared to flowers and contrasted with weeds, the poem concluding with a warning to such persons in the form of a proverb about lilies.

Theythathavepowertohurtandwilldonone,
Thatdonotdothethingtheymostdoshow,
Who,movingothers,arethemselvesasstone,
4Unmovèd,cold,andtotemptationslow,
Theyrightlydoinheritheaven’sgraces
Andhusbandnature’srichesfromexpense;
Theyarethelordsandownersoftheirfaces,
8Othersbutstewardsoftheirexcellence.
Thesummer’sfloweristothesummersweet,
Thoughtoitselfitonlyliveanddie;
Butifthatflowerwithbaseinfectionmeet,
12Thebasestweedoutbraveshisdignity.
Forsweetestthingsturnsourestbytheirdeeds;
Liliesthatfestersmellfarworsethanweeds.

95

Synopsis:

In this first of a pair of related poems, the poet accuses the beloved of using beauty to hide a corrupt moral center.

Howsweetandlovelydostthoumaketheshame
Which,likeacankerinthefragrantrose,
Dothspotthebeautyofthybuddingname!
4O,inwhatsweetsdostthouthysinsenclose!
Thattonguethattellsthestoryofthydays,
Makinglasciviouscommentsonthysport,
Cannotdispraisebutinakindofpraise;
8Namingthynameblessesanillreport.
O,whatamansionhavethosevicesgot
Whichfortheirhabitationchoseoutthee,
Wherebeauty’sveildothcovereveryblot,
12Andallthingsturnstofairthateyescansee!
Takeheed,dearheart,ofthislargeprivilege;
Thehardestknifeilluseddothlosehisedge.

96

Synopsis:

As in the companion s.95, the beloved is accused of enjoying the love of many despite his faults, which youth and beauty convert to graces.

Somesaythyfaultisyouth,somewantonness;
Somesaythygraceisyouthandgentlesport.
Bothgraceandfaultsarelovedofmoreandless;
4Thoumak’stfaultsgracesthattotheeresort.
Asonthefingerofathronèdqueen
Thebasestjewelwillbewellesteemed,
Soarethoseerrorsthatintheeareseen
8Totruthstranslatedandfortruethingsdeemed.
Howmanylambsmightthesternwolfbetray
Iflikealambhecouldhislookstranslate!
Howmanygazersmightstthouleadaway
12Ifthouwouldstusethestrengthofallthystate!
Butdonotso.Ilovetheeinsuchsort
As,thoubeingmine,mineisthygoodreport.

97

Synopsis:

In this first of three sonnets about a period of separation from the beloved, the poet remembers the time as bleak winter, though the actual season was warm and filled with nature’s abundance.

Howlikeawinterhathmyabsencebeen
Fromthee,thepleasureofthefleetingyear!
WhatfreezingshaveIfelt,whatdarkdaysseen,
4WhatoldDecember’sbarenesseverywhere!
Andyetthistimeremovedwassummer’stime,
Theteemingautumn,bigwithrichincrease,
Bearingthewantonburdenoftheprime,
8Likewidowedwombsaftertheirlords’decease.
Yetthisabundantissueseemedtome
Buthopeoforphansandunfatheredfruit;
Forsummerandhispleasureswaitonthee,
12Andthouaway,theverybirdsaremute;
Oriftheysing,’tiswithsodullacheer
Thatleaveslookpale,dreadingthewinter’snear.

98

Synopsis:

The poet here remembers an April separation, in which springtime beauty seemed to him only a pale reflection of the absent beloved.

FromyouhaveIbeenabsentinthespring,
Whenproud-piedApril,dressedinallhistrim,
Hathputaspiritofyouthineverything,
4ThatheavySaturnlaughedandleaptwithhim.
Yetnorthelaysofbirdsnorthesweetsmell
Ofdifferentflowersinodorandinhue
Couldmakemeanysummer’sstorytell,
8Orfromtheirproudlappluckthemwheretheygrew.
NordidIwonderatthelily’swhite,
Norpraisethedeepvermilionintherose;
Theywerebutsweet,butfiguresofdelight,
12Drawnafteryou,youpatternofallthose.
Yetseemeditwinterstill,and,youaway,
AswithyourshadowIwiththesedidplay.

99

Synopsis:

This third poem about the beloved’s absence is closely linked to s.98. In the present sonnet, the poet accuses spring flowers and herbs of stealing color and fragrance from the beloved. The sonnet is unusual in that the first “quatrain” has five lines; the poem therefore has 15 lines, the only such sonnet in the sequence.

TheforwardvioletthusdidIchide:
“Sweetthief,whencedidstthoustealthysweetthatsmells,
Ifnotfrommylove’sbreath?Thepurplepride
4Whichonthysoftcheekforcomplexiondwells
Inmylove’sveinsthouhasttoogrosslydyed.”
ThelilyIcondemnèdforthyhand,
Andbudsofmarjoramhadstol’nthyhair;
8Therosesfearfullyonthornsdidstand,
⌜One⌝blushingshame,anotherwhitedespair;
Athird,norrednorwhite,hadstol’nofboth,
Andtohisrobb’ryhadannexedthybreath;
12But,forhistheft,inprideofallhisgrowth
Avengefulcankeratehimuptodeath.
MoreflowersInoted,yetInonecouldsee
Butsweetorcolorithadstol’nfromthee.

100

Synopsis:

In this first of a group of four sonnets about a period of time in which the poet has failed to write about the beloved, the poet summons his poetic genius to return and compose verse that will immortalize the beloved.

Whereartthou,muse,thatthouforget’stsolong
Tospeakofthatwhichgivestheeallthymight?
Spend’stthouthyfuryonsomeworthlesssong,
4Dark’ningthypowertolendbasesubjectslight?
Return,forgetfulmuse,andstraightredeem
Ingentlenumberstimesoidlyspent;
Singtotheearthatdoththylaysesteem
8Andgivesthypenbothskillandargument.
Rise,restymuse;mylove’ssweetfacesurvey
IfTimehaveanywrinklegraventhere.
Ifany,beasatiretodecay
12AndmakeTime’sspoilsdespisèdeverywhere.
GivemylovefamefasterthanTimewasteslife;
Sothouprevent’sthisscytheandcrookèdknife.

101

Synopsis:

Continuing from s.100, this poem has the muse tell the poet that the beloved needs no praise. The poet responds that the poems are for the edification of future ages.

Otruantmuse,whatshallbethyamends
Forthyneglectoftruthinbeautydyed?
Bothtruthandbeautyonmylovedepends;
4Sodostthoutoo,andthereindignified.
Makeanswer,muse.Wiltthounothaplysay
“Truthneedsnocolorwithhiscolorfixed,
Beautynopencilbeauty’struthtolay;
8Butbestisbestifneverintermixed”?
Becauseheneedsnopraise,wiltthoubedumb?
Excusenotsilenceso,for’tliesinthee
Tomakehimmuchoutliveagildedtomb
12Andtobepraisedofa*gesyettobe.
Thendothyoffice,muse;Iteachtheehow
Tomakehimseemlonghenceasheshowsnow.

102

Synopsis:

The poet defends his silence, arguing that it is a sign not of lessened love but of his desire, in a world where pleasures have grown common, to avoid wearying the beloved with poems of praise.

Myloveisstrengthened,thoughmoreweakinseeming;
Ilovenotless,thoughlesstheshowappear.
Thatloveismerchandizedwhoserichesteeming
4Theowner’stonguedothpublisheverywhere.
Ourlovewasnew,andthenbutinthespring,
WhenIwaswonttogreetitwithmylays,
AsPhilomelinsummer’sfrontdothsing,
8Andstopshispipeingrowthofriperdays.
Notthatthesummerislesspleasantnow
Thanwhenhermournfulhymnsdidhushthenight,
Butthatwildmusicburdenseverybough,
12Andsweetsgrowncommonlosetheirdeardelight.
Therefore,likeher,Isometimeholdmytongue,
BecauseIwouldnotdullyouwithmysong.

103

Synopsis:

In this fourth poem of apology for his silence, the poet argues that the beloved’s own face is so superior to any words of praise that silence is the better way.

Alack,whatpovertymymusebringsforth,
That,havingsuchascopetoshowherpride,
Theargumentallbareisofmoreworth
4Thanwhenithathmyaddedpraisebeside.
O,blamemenotifInomorecanwrite!
Lookinyourglass,andthereappearsaface
Thatovergoesmybluntinventionquite,
8Dullingmylinesanddoingmedisgrace.
Wereitnotsinful,then,strivingtomend,
Tomarthesubjectthatbeforewaswell?
Fortonootherpassmyversestend
12Thanofyourgracesandyourgiftstotell.
Andmore,muchmore,thaninmyversecansit
Yourownglassshowsyouwhenyoulookinit.

104

Synopsis:

The poet ponders the beloved’s seemingly unchanging beauty, realizing that it is doubtless altering even as he watches. He warns that the epitome of beauty will have died before future ages are born.

Tome,fairfriend,younevercanbeold,
ForasyouwerewhenfirstyoureyeIeyed,
Suchseemsyourbeautystill.Threewinterscold
4Havefromtheforestsshookthreesummers’pride,
Threebeauteousspringstoyellowautumnturned
InprocessoftheseasonshaveIseen,
ThreeAprilperfumesinthreehotJunesburned,
8SincefirstIsawyoufresh,whichyetaregreen.
Ah,yetdothbeauty,likeadialhand,
Stealfromhisfigure,andnopaceperceived;
Soyoursweethue,whichmethinksstilldothstand,
12Hathmotion,andmineeyemaybedeceived.
Forfearofwhich,hearthis,thouageunbred:
Ereyouwerebornwasbeauty’ssummerdead.

105

Synopsis:

Arguing that his poetry is not idolatrous in the sense of “polytheistic,” the poet contends that he celebrates only a single person, the beloved, as forever “fair, kind, and true.” Yet by locating this trinity of features in a single being, the poet flirts with idolatry in the sense of worshipping his beloved.

Letnotmylovebecalledidolatry,
Normybelovèdasanidolshow,
Sinceallalikemysongsandpraisesbe
4Toone,ofone,stillsuch,andeverso.
Kindismylovetoday,tomorrowkind,
Stillconstantinawondrousexcellence;
Thereforemyverse,toconstancyconfined,
8Onethingexpressing,leavesoutdifference.
“Fair,kind,andtrue”isallmyargument,
“Fair,kind,andtrue,”varyingtootherwords;
Andinthischangeismyinventionspent,
12Threethemesinone,whichwondrousscopeaffords.
“Fair,”“kind,”and“true”haveoftenlivedalone,
Whichthreetillnowneverkeptseatinone.

106

Synopsis:

The poet, in reading descriptions of beautiful knights and ladies in old poetry, realizes that the poets were trying to describe the beauty of the beloved, but, having never seen him, could only approximate it.

Wheninthechronicleofwastedtime
Iseedescriptionsofthefairestwights,
Andbeautymakingbeautifuloldrhyme
4Inpraiseofladiesdeadandlovelyknights,
Thenintheblazonofsweetbeauty’sbest,
Ofhand,offoot,oflip,ofeye,ofbrow,
Iseetheirantiquepenwouldhaveexpressed
8Evensuchabeautyasyoumasternow.
Soalltheirpraisesarebutprophecies
Ofthisourtime,allyouprefiguring;
And,fortheylookedbutwithdiviningeyes,
12Theyhadnot⌜skill⌝enoughyourworthtosing.
Forwe,whichnowbeholdthesepresentdays,
Haveeyestowonder,butlacktonguestopraise.

107

Synopsis:

This sonnet celebrates an external event that had threatened to be disastrous but that has turned out to be wonderful. The poet’s love, in this new time, is also refreshed.

Notmineownfearsnorthepropheticsoul
Ofthewideworlddreamingonthingstocome
Canyettheleaseofmytruelovecontrol,
4Supposedasforfeittoaconfineddoom.
Themortalmoonhathhereclipseendured,
Andthesadaugursmocktheirownpresage;
Incertaintiesnowcrownthemselvesassured,
8Andpeaceproclaimsolivesofendlessage.
Nowwiththedropsofthismostbalmytime
Mylovelooksfresh,andDeathtomesubscribes,
Since,spiteofhim,I’llliveinthispoorrhyme,
12Whileheinsultso’erdullandspeechlesstribes;
Andthouinthisshaltfindthymonument
Whentyrants’crestsandtombsofbrassarespent.

108

Synopsis:

The poet explains that his repeated words of love and praise are like daily prayer; though old, they are always new. True love is also always new, though the lover and the beloved may age.

What’sinthebrainthatinkmaycharacter
Whichhathnotfiguredtotheemytruespirit?
What’snewtospeak,whatnowtoregister,
4Thatmayexpressmyloveorthydearmerit?
Nothing,sweetboy;butyet,likeprayersdivine,
Imusteachdaysayo’ertheverysame,
Countingnooldthingold,thoumine,Ithine,
8EvenaswhenfirstIhallowedthyfairname.
Sothateternalloveinlove’sfreshcase
Weighsnotthedustandinjuryofa*ge,
Norgivestonecessarywrinklesplace,
12Butmakesantiquityforayehispage,
Findingthefirstconceitoflovetherebred,
Wheretimeandoutwardformwouldshowitdead.

109

Synopsis:

The poet defends his infidelities, arguing that his return washes away the blemish of his having left.

O,neversaythatIwasfalseofheart,
Thoughabsenceseemedmyflametoqualify;
AseasymightIfrommyselfdepart
4Asfrommysoul,whichinthybreastdothlie.
Thatismyhomeoflove.IfIhaveranged,
LikehimthattravelsIreturnagain,
Justtothetime,notwiththetimeexchanged,
8Sothatmyselfbringwaterformystain.
Neverbelieve,thoughinmynaturereigned
Allfrailtiesthatbesiegeallkindsofblood,
Thatitcouldsopreposterouslybestained
12Toleavefornothingallthysumofgood.
FornothingthiswideuniverseIcall,
Savethou,myrose;initthouartmyall.

110

Synopsis:

The poet confesses to having been unfaithful to the beloved, but claims that his straying has rejuvenated him and made the beloved seem even more godlike.

Alas,’tistrue,Ihavegonehereandthere
Andmademyselfamotleytotheview,
Goredmineownthoughts,soldcheapwhatismostdear,
4Madeoldoffensesofaffectionsnew.
MosttrueitisthatIhavelookedontruth
Askanceandstrangely;butbyallabove,
Theseblenchesgavemyheartanotheryouth,
8Andworseessaysprovedtheemybestoflove.
Nowallisdone,havewhatshallhavenoend.
MineappetiteInevermorewillgrind
Onnewerproof,totryanolderfriend,
12Agodinlove,towhomIamconfined.
Thengivemewelcome,nextmyheaventhebest,
Eventothypureandmostmostlovingbreast.

111

Synopsis:

In this first of two linked poems, the poet blames Fortune for putting him in a profession that led to his bad behavior, and he begs the beloved to punish him and to pity him.

O,formysakedoyou⌜with⌝Fortunechide,
Theguiltygoddessofmyharmfuldeeds,
Thatdidnotbetterformylifeprovide
4Thanpublicmeanswhichpublicmannersbreeds.
Thencecomesitthatmynamereceivesabrand;
Andalmostthencemynatureissubdued
Towhatitworksin,likethedyer’shand.
8Pityme,then,andwishIwererenewed,
Whilst,likeawillingpatient,Iwilldrink
Potionsofeisel’gainstmystronginfection;
NobitternessthatIwillbitterthink,
12Nordoublepenance,tocorrectcorrection.
Pityme,then,dearfriend,andIassureye
Eventhatyourpityisenoughtocureme.

112

Synopsis:

The pity asked for in s.111has here been received, and the poet therefore has no interest in others’ opinions of his worth or behavior.

Yourloveandpitydothth’impressionfill
Whichvulgarscandalstampeduponmybrow;
ForwhatcareIwhocallsmewellorill,
4Soyouo’ergreenmybad,mygoodallow?
Youaremyalltheworld,andImuststrive
Toknowmyshamesandpraisesfromyourtongue;
Noneelsetome,norItononealive,
8Thatmysteeledsenseorchangesrightorwrong.
InsoprofoundabysmIthrowallcare
Ofothers’voicesthatmyadder’ssense
Tocriticandtoflattererstoppèdare.
12MarkhowwithmyneglectIdodispense:
Youaresostronglyinmypurposebred
Thatalltheworldbesidesmethinks⌜are⌝dead.

113

Synopsis:

In this first of two linked sonnets, the poet confesses that everything he sees is transformed into an image of the beloved.

SinceIleftyou,mineeyeisinmymind,
Andthatwhichgovernsmetogoabout
Dothparthisfunction,andispartlyblind,
4Seemsseeing,buteffectuallyisout;
Foritnoformdeliverstotheheart
Ofbird,offlower,orshapewhichitdoth⌜latch;⌝
Ofhisquickobjectshaththemindnopart,
8Norhisownvisionholdswhatitdothcatch.
Forifitseetherud’storgentlestsight,
Themostsweetfavorordeformèd’stcreature,
Themountainorthesea,thedayornight,
12Thecrowordove,itshapesthemtoyourfeature.
Incapableofmore,repletewithyou,
Mymosttruemindthusmakethmine⌜eye⌝untrue.

114

Synopsis:

In a continuation of s.113, the poet debates whether the lovely images of the beloved are true or are the mind’s delusions, and he decides on the latter.

Orwhetherdothmymind,beingcrownedwithyou,
Drinkupthemonarch’splague,thisflattery?
OrwhethershallIsaymineeyesaithtrue,
4Andthatyourlovetaughtitthisalchemy,
Tomakeofmonstersandthingsindigest
Suchcherubinsasyoursweetselfresemble,
Creatingeverybadaperfectbest
8Asfastasobjectstohisbeamsassemble?
O,’tisthefirst:’tisflatteryinmyseeing,
Andmygreatmindmostkinglydrinksitup.
Mineeyewellknowswhatwithhisgustisgreeing,
12Andtohispalatedothpreparethecup.
Ifitbepoisoned,’tisthelessersin
Thatmineeyelovesitanddothfirstbegin.

115

Synopsis:

The poet acknowledges that the very fact that his love has grown makes his earlier poems about the fullness and constancy of his love into lies.

ThoselinesthatIbeforehavewritdolie,
EventhosethatsaidIcouldnotloveyoudearer;
Yetthenmyjudgmentknewnoreasonwhy
4Mymostfullflameshouldafterwardsburnclearer.
Butreckoningtime,whosemillionedaccidents
Creepin’twixtvowsandchangedecreesofkings,
Tansacredbeauty,bluntthesharp’stintents,
8Divertstrongmindstoth’courseofalt’ringthings—
Alas,why,fearingoftime’styranny,
MightInotthensay“NowIloveyoubest,”
WhenIwascertaino’erincertainty,
12Crowningthepresent,doubtingoftherest?
Loveisababe.ThenmightInotsayso,
Togivefullgrowthtothatwhichstilldothgrow.

116

Synopsis:

The poet here meditates on what he sees as the truest and strongest kind of love, that between minds. He defines such a union as unalterable and eternal.

Letmenottothemarriageoftrueminds
Admitimpediments.Loveisnotlove
Whichalterswhenitalterationfinds
4Orbendswiththeremovertoremove.
O,no,itisanever-fixèdmark
Thatlooksontempestsandisnevershaken;
Itisthestartoeverywand’ringbark,
8Whoseworth’sunknown,althoughhisheightbetaken.
Love’snotTime’sfool,thoughrosylipsandcheeks
Withinhisbendingsickle’scompasscome;
Lovealtersnotwithhisbriefhoursandweeks,
12Butbearsitouteventotheedgeofdoom.
Ifthisbeerror,anduponmeproved,
Ineverwrit,nornomaneverloved.

117

Synopsis:

In this first of a group of four sonnets of self-accusation and of attempts at explanation, the poet lists the charges that can be made against him, and then says he was merely testing the beloved’s love.

Accusemethus:thatIhavescantedall
WhereinIshouldyourgreatdesertsrepay,
Forgotuponyourdearestlovetocall,
4Wheretoallbondsdotiemedaybyday;
ThatIhavefrequentbeenwithunknownminds,
Andgiventotimeyourowndear-purchasedright;
ThatIhavehoistedsailtoallthewinds
8Whichshouldtransportmefarthestfromyoursight.
Bookbothmywillfulnessanderrorsdown,
Andonjustproofsurmiseaccumulate;
Bringmewithinthelevelofyourfrown,
12Butshootnotatmeinyourwakenedhate,
SincemyappealsaysIdidstrivetoprove
Theconstancyandvirtueofyourlove.

118

Synopsis:

In this second sonnet of self-accusation, the poet uses analogies of eating and of purging to excuse his infidelities.

Likeastomakeourappetitesmorekeen
Witheagercompoundsweourpalateurge;
Astopreventourmaladiesunseen
4Wesickentoshunsicknesswhenwepurge;
Evenso,beingfullofyourne’er-cloyingsweetness,
TobittersaucesdidIframemyfeeding;
And,sickofwelfare,foundakindofmeetness
8Tobediseasederethattherewastrueneeding.
Thuspolicyinlove,t’anticipate
Theillsthatwerenot,grewtofaultsassured,
Andbroughttomedicineahealthfulstate
12Which,rankofgoodness,wouldbyillbecured.
ButthenceIlearn,andfindthelessontrue:
Drugspoisonhimthatsofellsickofyou.

119

Synopsis:

Filled with self-disgust at having subjected himself to so many evils in the course of his infidelity, the poet nevertheless finds an excuse in discovering that his now reconstructed love is stronger than it was before.

WhatpotionshaveIdrunkofsirentears
Distilledfromlimbecksfoulashellwithin,
Applyingfearstohopesandhopestofears,
4StilllosingwhenIsawmyselftowin!
Whatwretchederrorshathmyheartcommitted,
Whilstithaththoughtit*elfsoblessèdnever!
Howhavemineeyesoutoftheirspheresbeenfitted
8Inthedistractionofthismaddingfever!
O,benefitofill!NowIfindtrue
Thatbetterisbyevilstillmadebetter;
Andruinedlove,whenitisbuiltanew,
12Growsfairerthanatfirst,morestrong,fargreater.
SoIreturnrebukedtomycontent,
AndgainbyillsthricemorethanIhavespent.

120

Synopsis:

In this fourth sonnet about his unkindness to the beloved, the poet comforts himself with the memory of the time the beloved was unkind to him.

Thatyouwereonceunkindbefriendsmenow,
AndforthatsorrowwhichIthendidfeel
NeedsmustIundermytransgressionbow,
4Unlessmynerveswerebrassorhammeredsteel.
Forifyouwerebymyunkindnessshaken
AsIbyyours,you’vepassedahelloftime,
AndI,atyrant,havenoleisuretaken
8ToweighhowonceIsufferedinyourcrime.
O,thatournightofwoemighthaveremembered
Mydeepestsensehowhardtruesorrowhits,
Andsoontoyouasyoutomethentendered
12Thehumblesalvewhichwoundedbosomsfits!
Butthatyourtrespassnowbecomesafee;
Mineransomsyours,andyoursmustransomme.

121

Synopsis:

The poet responds to slurs about his behavior by claiming that he is no worse (and is perhaps better) than his attackers.

’Tisbettertobevilethanvileesteemed,
Whennottobereceivesreproachofbeing,
Andthejustpleasurelost,whichissodeemed
4Notbyourfeelingbutbyothers’seeing.
Forwhyshouldothers’falseadulterateeyes
Givesalutationtomysportiveblood?
Oronmyfrailtieswhyarefrailerspies,
8WhichintheirwillscountbadwhatIthinkgood?
No,IamthatIam;andtheythatlevel
Atmyabusesreckonuptheirown.
Imaybestraightthoughtheythemselvesbebevel;
12Bytheirrankthoughtsmydeedsmustnotbeshown,
Unlessthisgeneraleviltheymaintain:
Allmenarebadandintheirbadnessreign.

122

Synopsis:

This sonnet addresses the hard question of why the poet has given away the beloved’s gift of a writing tablet. After several stumbling tries, the poet ends by claiming that for him to have kept the tables would have implied that he needed help in remembering the unforgettable beloved.

Thygift,thytables,arewithinmybrain
Fullcharacteredwithlastingmemory,
Whichshallabovethatidlerankremain
4Beyondalldate,eventoeternity—
Or,attheleast,solongasbrainandheart
Havefacultybynaturetosubsist;
Tilleachtorazedoblivionyieldhispart
8Ofthee,thyrecordnevercanbemissed.
Thatpoorretentioncouldnotsomuchhold,
NorneedItalliesthydearlovetoscore;
ThereforetogivethemfrommewasIbold,
12Totrustthosetablesthatreceivetheemore.
Tokeepanadjuncttorememberthee
Weretoimportforgetfulnessinme.

123

Synopsis:

The poet repeats an idea from s.59—that there is nothing new under the sun—and accuses Time of tricking us into perceiving things as new only because we live for such a short time. He reasserts his vow to remain constant despite Time’s power.

No,Time,thoushaltnotboastthatIdochange.
Thypyramidsbuiltupwithnewermight
Tomearenothingnovel,nothingstrange;
4Theyarebutdressingsofaformersight.
Ourdatesarebrief,andthereforeweadmire
Whatthoudostfoistuponusthatisold,
Andrathermakethemborntoourdesire
8Thanthinkthatwebeforehaveheardthemtold.
ThyregistersandtheeIbothdefy,
Notwond’ringatthepresentnorthepast;
Forthyrecordsandwhatweseedothlie,
12Mademoreorlessbythycontinualhaste.
ThisIdovow,andthisshalleverbe:
Iwillbetruedespitethyscytheandthee.

124

Synopsis:

In this difficult and much-discussed sonnet, the poet declares the permanence and wisdom of his love.

Ifmydearlovewerebutthechildofstate,
Itmightforfortune’sbastardbeunfathered,
Assubjecttotime’sloveortotime’shate,
4Weedsamongweeds,orflowerswithflowersgathered.
No,itwasbuildedfarfromaccident;
Itsuffersnotinsmilingpomp,norfalls
Undertheblowofthrallèddiscontent,
8Wheretoth’invitingtimeourfashioncalls.
Itfearsnotpolicy,thatheretic
Whichworksonleasesofshort-numberedhours,
Butallalonestandshugelypolitic,
12Thatitnorgrowswithheatnordrownswithshowers.
TothisIwitnesscallthefoolsoftime,
Whichdieforgoodnesswhohavelivedforcrime.

125

Synopsis:

The poet, in apparent response to accusation, claims that his love (and, perhaps, his poetry of praise) is not basely motivated by desire for outward honor.

Were’taughttomeIborethecanopy,
Withmyexterntheoutwardhonoring,
Orlaidgreatbasesforeternity,
4Whichprovesmoreshortthanwasteorruining?
HaveInotseendwellersonformandfavor
Loseallandmorebypayingtoomuchrent,
Forcompoundsweetforgoingsimplesavor,
8Pitifulthrivers,intheirgazingspent?
No,letmebeobsequiousinthyheart,
Andtakethoumyoblation,poorbutfree,
Whichisnotmixedwithseconds,knowsnoart
12Butmutualrender,onlymeforthee.
Hence,thousubornedinformer;atruesoul
Whenmostimpeachedstandsleastinthycontrol.

126

Synopsis:

The poet acknowledges that the beloved young man grows lovelier with time, as if Nature has chosen him as her darling, but warns him that her protection cannot last forever—that eventually aging and death will come.

Othou,mylovelyboy,whointhypower
DostholdTime’sfickleglass,hissicklehour;
Whohastbywaninggrown,andthereinshow’st
4Thylover’switheringasthysweetselfgrow’st.
IfNature,sovereignmistressoverwrack,
Asthougoestonwardsstillwillplucktheeback,
Shekeepstheetothispurpose,thatherskill
8MayTimedisgrace,andwretched⌜minutes⌝kill.
Yetfearher,Othouminionofherpleasure!
Shemaydetain,butnotstillkeep,hertreasure.
Heraudit,thoughdelayed,answeredmustbe,
12Andherquietusistorenderthee.

127

Synopsis:

The poet defends his love of a mistress who does not meet the conventional standard of beauty by claiming that her dark eyes and hair (and, perhaps, dark skin) are the new standard. The old version of beauty—blond hair and light skin—are so readily counterfeited that beauty in that form is no longer trusted.

Intheoldage,blackwasnotcountedfair,
Or,ifitwere,itborenotbeauty’sname;
Butnowisblackbeauty’ssuccessiveheir,
4Andbeautyslanderedwithabastardshame.
Forsinceeachhandhathputonnature’spower,
Fairingthefoulwithart’sfalseborrowedface,
Sweetbeautyhathnoname,noholybower,
8Butisprofaned,ifnotlivesindisgrace.
Thereforemymistress’eyesareravenblack,
Hereyessosuited,andtheymournersseem
Atsuchwho,notbornfair,nobeautylack,
12Sland’ringcreationwithafalseesteem.
Yetsotheymourn,becomingoftheirwoe,
Thateverytonguesaysbeautyshouldlookso.

128

Synopsis:

This sonnet uses the conventional poetic idea of the poet envying an object being touched by the beloved. Here, the object is the keyboard of an instrument.

Howoft,whenthou,mymusic,musicplay’st
Uponthatblessèdwoodwhosemotionsounds
Withthysweetfingerswhenthougentlysway’st
4Thewiryconcordthatmineearconfounds,
DoIenvythosejacksthatnimbleleap
Tokissthetenderinwardofthyhand,
Whilstmypoorlips,whichshouldthatharvestreap,
8Atthewood’sboldnessbytheeblushingstand.
Tobesotickledtheywouldchangetheirstate
Andsituationwiththosedancingchips,
O’erwhom⌜thy⌝fingerswalkwithgentlegait,
12Makingdeadwoodmoreblestthanlivinglips.
Sincesaucyjackssohappyareinthis,
Givethem⌜thy⌝fingers,methylipstokiss.

129

Synopsis:

This sonnet describes what Booth calls “the life cycle of lust”—a moment of bliss preceded by madness and followed by despair.

Th’expenseofspiritinawasteofshame
Islustinaction;and,tillaction,lust
Isperjured,murd’rous,bloody,fullofblame,
4Savage,extreme,rude,cruel,nottotrust;
Enjoyednosoonerbutdespisèdstraight;
Pastreasonhunted,andnosoonerhad,
Pastreasonhatedasaswallowedbait
8Onpurposelaidtomakethetakermad.
⌜Mad⌝inpursuitandinpossessionso;
Had,having,andinquesttohave,extreme;
Ablissinproofand⌜proveda⌝verywoe;
12Before,ajoyproposed;behind,adream.
Allthistheworldwellknows,yetnoneknowswell
Toshuntheheaventhatleadsmentothishell.

130

Synopsis:

This sonnet plays with poetic conventions in which, for example, the mistress’s eyes are compared with the sun, her lips with coral, and her cheeks with roses. His mistress, says the poet, is nothing like this conventional image, but is as lovely as any woman.

Mymistress’eyesarenothinglikethesun;
Coralisfarmoreredthanherlips’red;
Ifsnowbewhite,whythenherbreastsaredun;
4Ifhairsbewires,blackwiresgrowonherhead.
Ihaveseenrosesdamasked,redandwhite,
ButnosuchrosesseeIinhercheeks;
Andinsomeperfumesistheremoredelight
8Thaninthebreaththatfrommymistressreeks.
Ilovetohearherspeak,yetwellIknow
Thatmusichathafarmorepleasingsound.
IgrantIneversawagoddessgo;
12Mymistress,whenshewalks,treadsontheground.
Andyet,byheaven,Ithinkmyloveasrare
Asanyshebeliedwithfalsecompare.

131

Synopsis:

The poet disagrees with those who say that his mistress is not beautiful enough to make a lover miserable. He groans for her as for any beauty. Only her behavior, he says, is ugly.

Thouartastyrannous,soasthouart,
Asthosewhosebeautiesproudlymakethemcruel;
Forwellthouknow’sttomydeardotingheart
4Thouartthefairestandmostpreciousjewel.
Yetingoodfaithsomesaythattheebehold,
Thyfacehathnotthepowertomakelovegroan;
TosaytheyerrIdarenotbesobold,
8AlthoughIswearittomyselfalone.
And,tobesurethatisnotfalseIswear,
Athousandgroans,butthinkingonthyface,
Oneonanother’sneckdowitnessbear
12Thyblackisfairestinmyjudgment’splace.
Innothingartthoublacksaveinthydeeds,
AndthencethisslanderasIthinkproceeds.

132

Synopsis:

The poet begs the mistress to model her heart after her eyes, which, because they are black as if dressed in mourning, show their pity for his pain as a lover.

ThineeyesIlove,andthey,aspityingme,
Knowingthyhearttormentmewithdisdain,
Haveputonblack,andlovingmournersbe,
4Lookingwithprettyruthuponmypain.
Andtrulynotthemorningsunofheaven
Betterbecomesthegraycheeksoftheeast,
Northatfullstarthatushersintheeven
8Dothhalfthatglorytothesoberwest
Asthosetwomourningeyesbecomethyface.
O,letitthenaswellbeseemthyheart
Tomournforme,sincemourningdoththeegrace,
12Andsuitthypitylikeineverypart.
ThenwillIswearbeautyherselfisblack,
Andalltheyfoulthatthycomplexionlack.

133

Synopsis:

In this first of two linked sonnets, the pain felt by the poet as lover of the mistress is multiplied by the fact that the beloved friend is also enslaved by her.

Beshrewthatheartthatmakesmyhearttogroan
Forthatdeepwounditgivesmyfriendandme.
Is’tnotenoughtotorturemealone,
4Butslavetoslaverymysweet’stfriendmustbe?
Mefrommyselfthycrueleyehathtaken,
Andmynextselfthouharderhastengrossed;
Ofhim,myself,andtheeIamforsaken,
8Atormentthricethreefoldthustobecrossed.
Prisonmyheartinthysteelbosom’sward,
Butthenmyfriend’sheartletmypoorheartbail.
Whoe’erkeepsme,letmyheartbehisguard;
12Thoucanstnotthenuserigorinmyjail.
Andyetthouwilt,forI,beingpentinthee,
Perforceamthine,andallthatisinme.

134

Synopsis:

The poet continues to rationalize the young man’s betrayal, here using language of debt and forfeit.

So,nowIhaveconfessedthatheisthine
AndImyselfammortgagedtothywill,
MyselfI’llforfeit,sothatothermine
4Thouwiltrestoretobemycomfortstill.
Butthouwiltnot,norhewillnotbefree,
Forthouartcovetous,andheiskind;
Helearnedbutsurety-liketowriteforme
8Underthatbondthathimasfastdothbind.
Thestatuteofthybeautythouwilttake,
Thouusurerthatput’stforthalltouse,
Andsueafriendcamedebtorformysake;
12SohimIlosethroughmyunkindabuse.
HimhaveIlost;thouhastbothhimandme.
Hepaysthewhole,andyetamInotfree.

135

Synopsis:

In this first of two linked sonnets, the poet apparently begs his (promiscuous) mistress to allow him back into her bed.

Whoeverhathherwish,thouhastthywill,
Andwilltoboot,andwillinoverplus.
MorethanenoughamIthatvextheestill,
4Tothysweetwillmakingadditionthus.
Wiltthou,whosewillislargeandspacious,
Notoncevouchsafetohidemywillinthine?
Shallwillinothersseemrightgracious,
8Andinmywillnofairacceptanceshine?
Thesea,allwater,yetreceivesrainstill,
Andinabundanceaddethtohisstore;
Sothou,beingrichinwill,addtothywill
12Onewillofminetomakethylargewillmore.
Letnounkind,nofairbeseecherskill.
Thinkallbutone,andmeinthatonewill.

136

Synopsis:

In this second sonnet built around wordplay on the wordwill,the poet continues to plead for a place among the mistress’s lovers.

IfthysoulchecktheethatIcomesonear,
SweartothyblindsoulthatIwasthywill,
Andwill,thysoulknows,isadmittedthere.
4Thusfarforlovemylove-suit,sweet,fulfill.
Willwillfulfillthetreasureofthylove,
Ay,fillitfullwithwills,andmywillone.
Inthingsofgreatreceiptwitheaseweprove
8Amonganumberoneisreckonednone.
Theninthenumberletmepassuntold,
Thoughinthystore’saccountIonemustbe.
Fornothingholdme,soitpleasetheehold
12Thatnothingme,asomething,sweet,tothee.
Makebutmynamethylove,andlovethatstill,
Andthenthoulovestme,formynameisWill.

137

Synopsis:

The poet asks why both his eyes and his heart have fastened on a woman neither beautiful nor chaste.

Thoublindfool,Love,whatdostthoutomineeyes
Thattheybeholdandseenotwhattheysee?
Theyknowwhatbeautyis,seewhereitlies,
4Yetwhatthebestistaketheworsttobe.
Ifeyes,corruptbyoverpartiallooks,
Beanchoredinthebaywhereallmenride,
Whyofeyes’falsehoodhastthouforgèdhooks,
8Wheretothejudgmentofmyheartistied?
Whyshouldmyheartthinkthataseveralplot
Whichmyheartknowsthewideworld’scommonplace?
Ormineeyes,seeingthis,saythisisnot,
12Toputfairtruthuponsofoulaface?
Inthingsrighttruemyheartandeyeshaveerred,
Andtothisfalseplaguearetheynowtransferred.

138

Synopsis:

The poet describes a relationship built on mutual deception that deceives neither party: the mistress claims constancy and the poet claims youth.

Whenmyloveswearsthatsheismadeoftruth
IdobelieveherthoughIknowshelies,
Thatshemightthinkmesomeuntutoredyouth,
4Unlearnèdintheworld’sfalsesubtleties.
Thusvainlythinkingthatshethinksmeyoung,
Althoughsheknowsmydaysarepastthebest,
SimplyIcreditherfalse-speakingtongue;
8Onbothsidesthusissimpletruthsuppressed.
Butwhereforesaysshenotsheisunjust?
AndwhereforesaynotIthatIamold?
O,love’sbesthabitisinseemingtrust,
12Andageinlovelovesnottohaveyearstold.
ThereforeIliewithherandshewithme,
Andinourfaultsbyliesweflatteredbe.

139

Synopsis:

The poet, after refusing to make excuses for the mistress’s wrongs, begs her not to flirt with others in his presence. He then excuses that wrong, only to ask her to direct her eyes against him as if they were mortal weapons.

O,callnotmetojustifythewrong
Thatthyunkindnesslaysuponmyheart;
Woundmenotwiththineeyebutwiththytongue;
4Usepowerwithpower,andslaymenotbyart.
Tellmethoulov’stelsewhere;butinmysight,
Dearheart,forbeartoglancethineeyeaside.
Whatneed’stthouwoundwithcunningwhenthymight
8Ismorethanmyo’erpresseddefensecanbide?
Letmeexcusethee:ah,mylovewellknows
Herprettylookshavebeenmineenemies;
Andthereforefrommyfacesheturnsmyfoes,
12Thattheyelsewheremightdarttheirinjuries.
Yetdonotso;butsinceIamnearslain,
Killmeoutrightwithlooks,andridmypain.

140

Synopsis:

The poet warns the mistress that she would be wiser to pretend to love him and thus avoid driving him into a despair that would no longer hold its tongue.

Bewiseasthouartcruel;donotpress
Mytongue-tiedpatiencewithtoomuchdisdain,
Lestsorrowlendmewords,andwordsexpress
4Themannerofmypity-wantingpain.
IfImightteachtheewit,betteritwere,
Thoughnottolove,yet,love,totellmeso,
Astestysickmen,whentheirdeathsbenear,
8Nonewsbuthealthfromtheirphysiciansknow.
ForifIshoulddespair,Ishouldgrowmad,
Andinmymadnessmightspeakillofthee.
Nowthisill-wrestingworldisgrownsobad,
12Madslanderersbymadearsbelievèdbe.
ThatImaynotbeso,northoubelied,
Bearthineeyesstraight,thoughthyproudheartgowide.

141

Synopsis:

The poet describes his heart as going against his senses and his mind in its determination to love.

Infaith,Idonotlovetheewithmineeyes,
Fortheyintheeathousanderrorsnote;
But’tismyheartthatloveswhattheydespise,
4Whoindespiteofviewispleasedtodote.
Noraremineearswiththytongue’stunedelighted,
Nortenderfeelingtobasetouchesprone,
Nortaste,norsmell,desiretobeinvited
8Toanysensualfeastwiththeealone.
Butmyfivewitsnormyfivesensescan
Dissuadeonefoolishheartfromservingthee,
Wholeavesunswayedthelikenessofaman,
12Thyproudheart’sslaveandvassalwretchtobe.
OnlymyplaguethusfarIcountmygain,
Thatshethatmakesmesinawardsmepain.

142

Synopsis:

The poet accuses the woman of scorning his love not out of virtue but because she is busy making adulterous love elsewhere.

Loveismysin,andthydearvirtuehate,
Hateofmysin,groundedonsinfulloving.
O,butwithminecomparethouthineownstate,
4Andthoushaltfinditmeritsnotreproving.
Orifitdo,notfromthoselipsofthine,
Thathaveprofanedtheirscarletornaments
Andsealedfalsebondsofloveasoftasmine,
8Robbedothers’beds’revenuesoftheirrents.
BeitlawfulIlovetheeasthoulov’stthose
Whomthineeyeswooasmineimportunethee;
Rootpityinthyheart,that,whenitgrows,
12Thypitymaydeservetopitiedbe.
Ifthoudostseektohavewhatthoudosthide,
Byself-examplemaystthoubedenied.

143

Synopsis:

The poet expands on s.142.9–10 (where he pursues a mistress who pursues others) by presenting a picture of a woman who chases a barnyard fowl while her infant chases after her.

Lo,asacarefulhuswiferunstocatch
Oneofherfeatheredcreaturesbrokeaway,
Setsdownherbabe,andmakesallswiftdispatch
4Inpursuitofthethingshewouldhavestay,
Whilstherneglectedchildholdsherinchase,
Criestocatchherwhosebusycareisbent
Tofollowthatwhichfliesbeforeherface,
8Notprizingherpoorinfant’sdiscontent;
Sorunn’stthouafterthatwhichfliesfromthee,
WhilstI,thybabe,chasetheeafarbehind.
Butifthoucatchthyhope,turnbacktome
12Andplaythemother’spart:kissme,bekind.
SowillIpraythatthoumaysthavethywill,
Ifthouturnbackandmyloudcryingstill.

144

Synopsis:

The poet’s three-way relationship with the mistress and the young man is here presented as an allegory of a person tempted by a good and a bad angel.

TwolovesIhave,ofcomfortanddespair,
Whichliketwospiritsdosuggestmestill.
Thebetterangelisamanrightfair,
4Theworserspiritawomancoloredill.
Towinmesoontohellmyfemaleevil
Temptethmybetterangelfrommy⌜side,⌝
Andwouldcorruptmysainttobeadevil,
8Wooinghispuritywithherfoulpride.
Andwhetherthatmyangelbeturnedfiend
SuspectImay,yetnotdirectlytell;
Butbeingbothfromme,bothtoeachfriend,
12Iguessoneangelinanother’shell.
YetthisshallIne’erknow,butliveindoubt,
Tillmybadangelfiremygoodoneout.

145

Synopsis:

In this sonnet, perhaps written when Shakespeare was very young, the poet plays with the difference between the words “I hate” and “I hate not you.” (Note that the lines of the sonnet are in tetrameter instead of pentameter.)

ThoselipsthatLove’sownhanddidmake
Breathedforththesoundthatsaid“Ihate”
Tomethatlanguishedforhersake;
4Butwhenshesawmywoefulstate,
Straightinherheartdidmercycome,
Chidingthattonguethateversweet
Wasusedingivinggentledoom,
8Andtaughtitthusanewtogreet:
“Ihate”shealteredwithanend
Thatfolloweditasgentleday
Dothfollownight,who,likeafiend,
12Fromheaventohellisflownaway.
“Ihate”fromhateawayshethrew,
Andsavedmylife,saying“notyou.”

146

Synopsis:

The poet here meditates on the soul and its relation to the body, in life and in death.

Poorsoul,thecenterofmysinfulearth,
⌜Pressedwith⌝theserebelpowersthattheearray,
Whydostthoupinewithinandsufferdearth,
4Paintingthyoutwardwallssocostlygay?
Whysolargecost,havingsoshortalease,
Dostthouuponthyfadingmansionspend?
Shallworms,inheritorsofthisexcess,
8Eatupthycharge?Isthisthybody’send?
Then,soul,livethouuponthyservant’sloss,
Andletthatpinetoaggravatethystore.
Buytermsdivineinsellinghoursofdross;
12Withinbefed,withoutberichnomore.
SoshaltthoufeedonDeath,thatfeedsonmen,
AndDeathoncedead,there’snomoredyingthen.

147

Synopsis:

The poet describes his love for the lady as a desperate sickness.

Myloveisasafever,longingstill
Forthatwhichlongernurseththedisease,
Feedingonthatwhichdothpreservetheill,
4Th’uncertainsicklyappetitetoplease.
Myreason,thephysiciantomylove,
Angrythathisprescriptionsarenotkept,
Hathleftme,andIdesperatenowapprove
8Desireisdeath,whichphysicdidexcept.
PastcureIam,nowreasonispastcare,
And,frantic-madwithevermoreunrest,
Mythoughtsandmydiscourseasmadmen’sare,
12Atrandomfromthetruthvainlyexpressed.
ForIhavesworntheefair,andthoughttheebright,
Whoartasblackashell,asdarkasnight.

148

Synopsis:

The poet once again (as in ss.113,114,137, and141) questions his own eyesight. Here, he describes his eyes’ image of his mistress as in conflict with his judgment and with the views of the world in general.

Ome,whateyeshathloveputinmyhead,
Whichhavenocorrespondencewithtruesight!
Oriftheyhave,whereismyjudgmentfled,
4Thatcensuresfalselywhattheyseearight?
Ifthatbefairwhereonmyfalseeyesdote,
Whatmeanstheworldtosayitisnotso?
Ifitbenot,thenlovedothwelldenote
8Love’seyeisnotsotrueasallmen’s“no.”
Howcanit?O,howcanlove’seyebetrue,
Thatissovexedwithwatchingandwithtears?
NomarvelthenthoughImistakemyview;
12Thesunitselfseesnottillheavenclears.
Ocunninglove,withtearsthoukeep’stmeblind,
Lesteyeswell-seeingthyfoulfaultsshouldfind.

149

Synopsis:

The poet argues that he has proved his love for the lady by turning against himself when she turns against him.

Canstthou,Ocruel,sayIlovetheenot
WhenIagainstmyselfwiththeepartake?
DoInotthinkontheewhenIforgot
4Amofmyself,all,tyrant,forthysake?
WhohateththeethatIdocallmyfriend?
Onwhomfrown’stthouthatIdofawnupon?
Nay,ifthoulour’stonme,doInotspend
8Revengeuponmyselfwithpresentmoan?
WhatmeritdoIinmyselfrespect
Thatissoproudthyservicetodespise,
Whenallmybestdothworshipthydefect,
12Commandedbythemotionofthineeyes?
But,love,hateon,fornowIknowthymind;
Thosethatcanseethoulov’st,andIamblind.

150

Synopsis:

The sonnet begins with the poet’s questioning why he should love what he knows he should hate; it ends with his claim that this love of her unworthiness should cause the lady to love him.

O,fromwhatpowerhastthouthispowerfulmight
Withinsufficiencymyhearttosway?
Tomakemegivethelietomytruesight,
4Andswearthatbrightnessdothnotgracetheday?
Whencehastthouthisbecomingofthingsill,
Thatintheveryrefuseofthydeeds
Thereissuchstrengthandwarrantiseofskill
8Thatinmymindthyworstallbestexceeds?
Whotaughttheehowtomakemelovetheemore,
ThemoreIhearandseejustcauseofhate?
O,thoughIlovewhatothersdoabhor,
12Withothersthoushouldstnotabhormystate.
Ifthyunworthinessraisedloveinme,
MoreworthyItobebelovedofthee.

151

Synopsis:

The poet displays the sexually obsessive nature of his love.

Loveistooyoungtoknowwhatconscienceis;
Yetwhoknowsnotconscienceisbornoflove?
Then,gentlecheater,urgenotmyamiss,
4Lestguiltyofmyfaultsthysweetselfprove.
For,thoubetrayingme,Idobetray
Mynoblerparttomygrossbody’streason.
Mysouldothtellmybodythathemay
8Triumphinlove;fleshstaysnofartherreason,
But,risingatthyname,dothpointoutthee
Ashistriumphantprize.Proudofthispride,
Heiscontentedthypoordrudgetobe,
12Tostandinthyaffairs,fallbythyside.
NowantofconscienceholditthatIcall
Her“love,”forwhosedearloveIriseandfall.

152

Synopsis:

The poet turns his accusations against the woman’s inconstancy and oath-breaking against himself, accusing himself of deliberate blindness and perjury.

Inlovingtheethouknow’stIamforsworn,
Butthouarttwiceforsworn,tomeloveswearing;
Inactthybed-vowbroke,andnewfaithtorn
4Invowingnewhateafternewlovebearing.
Butwhyoftwooaths’breachdoIaccusethee
WhenIbreaktwenty?Iamperjuredmost,
Forallmyvowsareoathsbuttomisusethee,
8Andallmyhonestfaithintheeislost.
ForIhavesworndeepoathsofthydeepkindness,
Oathsofthylove,thytruth,thyconstancy;
Andtoenlightentheegaveeyestoblindness,
12Ormadethemswearagainstthethingtheysee.
ForIhavesworntheefair;moreperjuredeye,
Toswearagainstthetruthsofoulalie.

153

Synopsis:

This sonnet uses an ancient parable to demonstrate that love’s fire is unquenchable. It goes on to argue that only the mistress’s eyes can cure the poet.

Cupidlaidbyhisbrandandfellasleep.
AmaidofDian’sthisadvantagefound,
Andhislove-kindlingfiredidquicklysteep
4Inacoldvalley-fountainofthatground,
WhichborrowedfromthisholyfireofLove
Adatelesslivelyheat,stilltoendure,
Andgrewaseethingbathwhichyetmenprove
8Againststrangemaladiesasovereigncure.
Butatmymistress’eyeLove’sbrandnewfired,
Theboyfortrialneedswouldtouchmybreast;
I,sickwithal,thehelpofbathdesired
12Andthitherhied,asaddistemperedguest,
Butfoundnocure.Thebathformyhelplies
WhereCupidgotnewfire—mymistress’⌜eyes.⌝

154

Synopsis:

This sonnet, like s.153, retells the parable of Cupid’s torch turning a fountain into a hot bath, this time to argue that the poet’s disease of love is incurable.

Thelittlelove-god,lyingonceasleep,
Laidbyhissidehisheart-inflamingbrand,
Whilstmanynymphsthatvowedchastelifetokeep
4Cametrippingby;butinhermaidenhand
Thefairestvotarytookupthatfire,
Whichmanylegionsoftrueheartshadwarmed;
Andsothegeneralofhotdesire
8Was,sleeping,byavirginhanddisarmed.
Thisbrandshequenchèdinacoolwellby,
WhichfromLove’sfiretookheatperpetual,
Growingabathandhealthfulremedy
12Formendiseased;butI,mymistress’thrall,
Camethereforcure,andthisbythatIprove:
Love’sfireheatswater;watercoolsnotlove.

These are the first versions of these two sonnets to be printed.

[138]

Whenmyloveswearsthatsheismadeoftruth,
Idobelieveher,thoughIknowshelies,
Thatshemightthinkmesomeuntutoredyouth,
4Unskillfulintheworld’sfalseforgeries.
Thusvainlythinkingthatshethinksmeyoung,
AlthoughIknowmyyearsbepastthebest,
I,smiling,creditherfalse-speakingtongue,
8Outfacingfaultsinlovewithlove’sillrest.
Butwhereforesaysmylovethatsheisyoung?
AndwhereforesaynotIthatIamold?
O,love’sbesthabitisasoothingtongue,
12Andageinlovelovesnottohaveyearstold.
ThereforeI’llliewithlove,andlovewithme,
Sincethatourfaultsinlovethussmotheredbe.