This is the
first of 154 sonnets written by William Shakespeare. It may not necessarily
have been written first but looking at the poems in the order that has been
widely accepted makes for an unravelling of a rather interesting love triangle.
Sonnet 1 is a procreation sonnet, part of the “Fair Youth” sequence in which a
young man whose identity till present day is unknown (the beloved) who is
addressed by the persona, Shakespeare (the lover).
Line one
seems to basically illustrate a pretty common rule of life, we desire more of
the good. However, in using the word “we” the poet quickly establishes a common
ground between himself and the reader whilst also introducing the comparison
between himself and the “Fair Youth”, a difference in ideology to be further
explored later. Use of the word “fairest”, the superlative form of the word
fair begins the exultation of the beloved as only the highest level of beauty
can be associated with this individual.
The reverse
word order in “ beauty’s rose” becomes synecdoche or a metonymy thereby turning
exultation into immortalisation, even the rose, widely considered the best and
most symbolic flower is struck at par to this “Fair Youth” maybe even higher as
the wish is “he might never die”. How can the persona desire immortalisation
for another and not himself? This is the greatest level of selflessness and yet
the conjunction “But” seems to extinguish all such reveries. It is like a
submission to fate, a submission to the effects of time, all should decrease no
matter how beautiful, no matter how desirable. All including the beloved will
submit to the “riper” stage and the inevitability of shrivelling, of parching,
of dwindling and yet this is not the problem. It is presented in such a
categorical tone that it does not invoke any feelings of sadness. The
inevitability portrayed make it not feel like death to the reader but rather a
stage that one must go through.
A successor
must rise from the death of the beloved, just as “tender” as he is, to lengthen
the legacy. The persona knows what should happen which leaves one questioning
whether it is actually what will happen. An interesting idea takes root in this
line though it lacks irrefutable substantiation. Could Shakespeare be referring
to himself as the “Fair Youth” who should seek an heir to continue in his
artistic footsteps? Is it even fair to fathom that he could be such an
egomaniac bordering on megalomaniac? Could he think himself so indispensable,
so vital to the World as shown later in the poem? It is certainly not
intellectually impossible for William Shakespeare to manufacture a poem
seemingly based on another whilst only casting himself through another’s eyes
or even more interestingly how he would have liked to be perceived.
The next
quatrain starts with the word “But” which introduces a contrast between the
persona’s philosophy which he has described to this point almost like
convention. Use of the word “contracted” gives the sense that the subject of
the poem is bound inextricably to the power of his grace and flamboyance.
Line six
introduces the idea of complete independence, the “Fair Youth” desireth not
even the persona’s praise. It is probably the highest point in any life when one
needs not another to praise and glorify them. The “Fair Youth” knows his worth
and needs no telling and yet the poet insists this is self destruction, “thy
self thy foe” “famine where abundance lies”, for the good of all may the
beloved not place reliance on his own might. A closer look at the first two
quatrains might reveal an address of the current situation, a blossoming flower
with no intention of passing on its brightness versus a self-proclaimed analyst
and advisor describing what the situation should be like. This gives way to the
rest of the poem : a plea to the “Fair Youth”.
The archaic
diction, “Thou that art” though quite common at the time of composition of the
poem creates for the contemporary reader the sense of authority within the
poet’s words thereby conjuring a now or never kind of atmosphere.
Shakespeare continues
with what now strangely sounds like flattery, “world’s fresh ornament” “only
herald to gaudy spring”. How can one individual be paralleled against the
world? How can all of Spring’s blossoms, colours, scents, creatures be
outweighed by this one individual? A pedestal too high? A love too strong?
And yet the
subject of this verse buries their valour “within thine own bud” content with
keeping it to themselves.
The
concluding couplet is a final plea to the “Fair Youth” to heed Shakespeare’s
call. He has the power to pity the world. The power to make everyone happy.
Like the ultimate demigod, the power to do evil to the world “eat the world’s
due” or do good: produce “tender heir to bear his memory”.
In many
respects the could not be a better introduction to a series of poems, a better
introduction to the “ Fair Youth” and what Shakespeare feels for him. The true
magic of Sonnet 1 is in hindsight it is like an autobiography except it would
be someone else pleading with Shakespeare to share his talent with the world
for surely it would “glutton be” had he not shared his plays and poetry.