Modern readers associate the sonnet form with romantic love and with good reason: the first sonnets written in thirteenth- and fourteenth-century Italy celebrated the poets’ feelings for their beloveds and their patrons. These sonnets were addressed to stylized, lionized women and dedicated to wealthy noblemen, who supported poets with money and other gifts, usually in return for lofty praise in print. Shakespeare dedicated his sonnets to “Mr. W. H.,” and the identity of this man remains unknown. He dedicated an earlier set of poems, Venus and Adonis and Rape of Lucrece, to Henry Wriothesly, earl of Southampton, but it’s not known what Wriothesly gave him for this honor. In contrast to tradition, Shakespeare addressed most of his sonnets to an unnamed young man, possibly Wriothesly. Addressing sonnets to a young man was unique in Elizabethan England. Furthermore, Shakespeare used his sonnets to explore different types of love between the young man and the speaker, the young man and the dark lady, and the dark lady and the speaker. In his sequence, the speaker expresses passionate concern for the young man, praises his beauty, and articulates what we would now call homosexual desire. The woman of Shakespeare’s sonnets, the so-called dark lady, is earthy, sexual, and faithless—characteristics in direct opposition to lovers described in other sonnet sequences, including Astrophil and Stella, by Sir Philip Sidney, a contemporary of Shakespeare, who were praised for their angelic demeanor, virginity, and steadfastness. Several sonnets also probe the nature of love, comparing the idealized love found in poems with the messy, complicated love found in real life.
In Shakespeare’s sonnets, falling in love can have painful emotional and physical consequences. Sonnets 127–152, addressed to the so-called dark lady, express a more overtly erotic and physical love than the sonnets addressed to the young man. But many sonnets warn readers about the dangers of lust and love. According to some poems, lust causes us to mistake sexual desire for true love, and love itself causes us to lose our powers of perception. Several sonnets warn about the dangers of lust, claiming that it turns humans “savage, extreme, rude, cruel” (4), as in Sonnet 129. The final two sonnets of Shakespeare’s sequence obliquely imply that lust leads to venereal disease. According to the conventions of romance, the sexual act, or “making love,” expresses the deep feeling between two people. In his sonnets, however, Shakespeare portrays making love not as a romantic expression of sentiment but as a base physical need with the potential for horrible consequences.
Several sonnets equate being in love with being in a pitiful state: as demonstrated by the poems, love causes fear, alienation, despair, and physical discomfort, not the pleasant emotions or euphoria we usually associate with romantic feelings. The speaker alternates between professing great love and professing great worry as he speculates about the young man’s misbehavior and the dark lady’s multiple sexual partners. As the young man and the dark lady begin an affair, the speaker imagines himself caught in a love triangle, mourning the loss of his friendship with the man and love with the woman, and he laments having fallen in love with the woman in the first place. In Sonnet 137, the speaker personifies love, calls him a simpleton, and criticizes him for removing his powers of perception. It was love that caused the speaker to make mistakes and poor judgments. Elsewhere the speaker calls love a disease as a way of demonstrating the physical pain of emotional wounds. Throughout his sonnets, Shakespeare clearly implies that love hurts. Yet despite the emotional and physical pain, like the speaker, we continue falling in love. Shakespeare shows that falling in love is an inescapable aspect of the human condition—indeed, expressing love is part of what makes us human.
To express the depth of their feelings, poets frequently employ hyperbolic terms to describe the objects of their affections. Traditionally, sonnets transform women into the most glorious creatures to walk the earth, whereas patrons become the noblest and bravest men the world has ever known. Shakespeare makes fun of the convention by contrasting an idealized woman with a real woman. In Sonnet 130, Shakespeare directly engages—and skewers—clichéd concepts of beauty. The speaker explains that his lover, the dark lady, has wires for hair, bad breath, dull cleavage, a heavy step, and pale lips. He concludes by saying that he loves her all the more precisely because he loves her and not some idealized, false version. Real love, the sonnet implies, begins when we accept our lovers for what they are as well as what they are not. Other sonnets explain that because anyone can use artful means to make himself or herself more attractive, no one is really beautiful anymore. Thus, since anyone can become beautiful, calling someone beautiful is no longer much of a compliment.
Shakespeare portrays beauty as conveying a great responsibility in the sonnets addressed to the young man, Sonnets 1–126. Here the speaker urges the young man to make his beauty immortal by having children, a theme that appears repeatedly throughout the poems: as an attractive person, the young man has a responsibility to procreate. Later sonnets demonstrate the speaker, angry at being cuckolded, lashing out at the young man and accusing him of using his beauty to hide immoral acts. Sonnet 95 compares the young man’s behavior to a “canker in the fragrant rose” (2) or a rotten spot on an otherwise beautiful flower. In other words, the young man’s beauty allows him to get away with bad behavior, but this bad behavior will eventually distort his beauty, much like a rotten spot eventually spreads. Nature gave the young man a beautiful face, but it is the young man’s responsibility to make sure that his soul is worthy of such a visage.
There are a few words in the poem which could have an equivocal meaning
The above saying is not an error... (supporting the speaker)
The above saying is not an error... (supporting the speaker)
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