Shakespeare's Sonnets Additional Summary

William Shakespeare


(Masterpieces of World Literature, Critical Edition)

To appreciate Shakespeare’s accomplishments in creating his sonnets, it is important to understand the history of the genre. Both the form of the individual sonnet and the idea of the sonnet sequence were developed in the fourteenth century by Petrarch, who wrote a series of poems celebrating a beautiful but unattainable woman he called Laura. Petrarch’s formula became a model copied by poets throughout Europe during the next two hundred years. Generally the speaker in the poems is a man who explores his feelings for a particular woman and laments the fact that she will not reciprocate his feelings. These fourteen-line poems are divided into two major sections; usually a problem or argument is presented in the octet, and a resolution provided in the sextet. A tight rhyme scheme binds each section together, making the construction of a sonnet particularly challenging.

By the 1590’s, a number of English poets had tried their hands at composing sonnets; among the more notable sequences were those of Sir Philip Sidney and Edmund Spenser. It is not surprising, then, that Shakespeare took up the challenge of writing a sonnet sequence. Like his contemporaries, he initially circulated his poems in manuscript; the first publication in 1609 may have occurred without his consent. Unlike most other sonneteers, however, Shakespeare modifies the form of the Petrarchan sonnet, substituting for the octet-sextet pattern a format of three quatrains followed by a concluding couplet. Working with his new rhyme scheme, he takes greater liberties in constructing his arguments. Rather than posing a problem in the first eight lines and offering a resolution in the concluding six, he often uses the quatrains to develop a theme or examine a subject from three different perspectives before bringing his argument to a close in the couplet.

Even more importantly, he abandons the convention of having his speaker address his works to an unattainable lady. Instead, he creates a cast of characters whose story is told through the individual poems. His speaker is an older poet who has developed an affection for a younger man. That young man’s attentions are also courted by a rival poet and by a sensual woman who is the older poet’s mistress. The first 126 sonnets are addressed to the young man; in most of the remaining ones the older poet speaks to or about the woman. This complex dramatic situation allows Shakespeare to explore in his sequence of 154 poems three major themes: the nature of love, the vicissitudes of time, and the permanence of poetry.

While individual sonnets may be understood without reference to their place within the sequence, an appreciation for the tensions created by the overarching structure of the sequence gives added poignancy to particular poems. For example, Sonnet 18 opens with a question, asking “Shall I compare thee to a summer’s day?” The poem is an extended comparison of the young man to a natural phenomenon. In some ways this sonnet is Petrarchan, in that the first two couplets work together to present an argument, while the final six lines offer an answer to the dilemma posed in the first eight lines. In the first and second quatrains the speaker points out some of the unpleasant aspects of...

(The entire section is 1324 words.)


(Critical Survey of Literature for Students)

Although William Shakespeare’s sonnets are generally considered to be among the most beautiful and most powerful poems in English literature, the attention of readers and scholars has more often centered on their possible biographical significance than on the literary qualities that give them their greatness. So little is known of the inner life of the poet, so little that helps to explain his genius, that it is not surprising to find critics minutely examining these lyrics that seem to reveal something of Shakespeare the man.

The sonnet sequence was one of the most popular poetic forms in the early 1590’s; modeled originally on works by Dante Alighieri and Petrarch, the genre developed in sixteenth century France and Italy and quickly reached England. Sir Philip Sidney’s Astrophel and Stella (1591), written a few years before the poet’s death in 1586, is a demonstration of how quickly the sonnet cycle achieved excellence in English. Edmund Spenser, Samuel Daniel, Michael Drayton, and many other well-known Elizabethan men of letters followed Sidney’s example, paying tribute to the idealized ladies who inspired their almost religious devotion.

Shakespeare’s poems, probably composed at intervals during the decade between 1590 and 1600, differ radically from the sonnets of his contemporaries in several ways. They are not based on the traditional Petrarchan theme of a proud, virtuous lady and an abject, scorned lover, and there is in them relatively little of the platonic idealism that fills such works as Spenser’s Amoretti (1595), in which the poet’s love for his lady lifts him above human weakness to contemplation of the divine. Shakespeare records a strangely ambiguous, tortured affection for a young nobleman; the emotions he expresses in his sonnets have a depth and complexity, an intensity, that can be encountered elsewhere only in the speeches of some of his greatest dramatic creations.

The narrative of Shakespeare’s sequence is exceedingly sketchy. Scholars have, in fact, rearranged the poems many times in an attempt to produce a more coherent “plot” than appeared in the volume published, without the author’s supervision, in 1609. It seems likely that the work as it now stands contains at least a few poems that were written as independent pieces, sonnets on popular Renaissance themes that have no real bearing on the subject of the sequence itself.

Three shadowy figures move through the reflections of the poet as he speaks in his sonnets. The most important is the “fair youth,” the young nobleman. The fervor of the language with which Shakespeare speaks of his feelings for the youth has led to considerable discussion of the precise nature of the relationship. It must be remembered that the Renaissance regarded the friendship of man and man as the highest form of human affection, for within this relationship there could be complete spiritual and intellectual communication, unmarred by erotic entanglements.

The nobleman is initially idealized in much the same way that most poets envision their ladies, as the embodiment of beauty and virtue. Unlike the typical lady of more conventional sonnets, however, he proves to be false and deceptive, shifting his attention to a rival poet, whose identity has been the subject of much speculation. The sequence records the narrator-poet’s despair at this betrayal and at the nobleman’s affair with the “dark lady,” the poet’s mistress, who is, in a sense, his evil genius. It is not the loss of the lady he regrets, for he knows her character all too well, but that his friend has yielded to her corruption. Throughout the sonnets the reader feels the poet’s agonized sense that there is nothing lastingly beautiful or virtuous.

While it is customary to speak of the “I” of the sonnets as Shakespeare, it is dangerously misleading to overlook the possibility that these poems are dramatic, that “I” is as vividly conceived a creature of Shakespeare’s mind as Hamlet, and that the poet is projecting himself into an imagined situation rather than describing a personal experience. Whether the speaker of the sonnets is Shakespeare or not, it does not alter the essential value of the poems themselves.

The greatness of the sonnets lies in their intellectual and emotional power, in Shakespeare’s ability to find exactly the right images to convey a particular idea or feeling and in his magnificent gift for shaping the diction and rhythms of ordinary human speech into expressions of the subtlest and deepest human perceptions. He also developed his own sonnet form, the Shakespearean sonnet form, with which Thomas Wyatt and Henry Howard Surrey experimented earlier in the century. Almost all of Shakespeare’s sonnets are divided into three quatrains, each with alternately rhyming lines, followed by a concluding couplet. This form is technically less complex than the Italian pattern, in which the first eight lines are built around two rhymes, rather than four. The technical requirements of the two forms determine to a degree their organization. The Italian sonnet generally breaks down into two sections, with the statement of a problem in the octave and its solution in the sestet, while the form used by Shakespeare lends itself to a tripartite exposition followed by a brief conclusion in the couplet. Shakespeare was, however, capable of varying his development of his subject in many different ways; a thought may run through twelve lines with a surprise conclusion or shift of emphasis in the couplet; it may break into the eight-line, six-line division of the Italian sonnet; or it may follow one of many other patterns.


(The entire section is 2324 words.)