Sonnet 10

The tenth of the much acclaimed procreation Sonnets. This particular one is probably the most exciting yet as it almost directly addresses the issue of whether Shakespeare is writing to a lover in this series of Sonnets. However, it must be noted that the 'Love' referenced in this Sonnet does not in any explicable manner translate to sexual interaction probably at its most intense just a very strong friendship.

Line 1 immediately challenges the Fair Youth to admit he bears love for nobody seeing as he is not desirous of leaving the world an heir to his throne of beauty. Somewhat ironic as in the persona appeals to a 'love' between the two in the final couplet. The Fair Youth life is portrayed to be so loveless such that gross myopia fuels the antagonism towards offspring unchecked. At this point, it almost seems as if the Fair Youth lacks even self love, an incredible paradox given that this individual is described as quite simply the most beautiful creature alive. How is it then possible that one cannot love oneself is such a state?

The ending to the first quatrain further augment the notion that the Fair Youth is worth loving as all the world is said to bear affection for him. One would imagine that and children of his would be greeted with at least the same 'enthusiasm' and yet this is not enough to sway the Fair Youth as nothing short of "murderous hate" reigns supreme.   A hate so strong, so deadly, so heinous, it leaves the Fair Youth convinced he is better off killing off his legacy, better off leaving but a distant memory of himself, nothing more than a hope-filled modicum of what could have been.

Line 9 takes an interesting twist, a deviance from the attitude that was prevalent in the preceding Sonnets. Until now, Shakespeare was merely pleading with the Fair Youth, imploring him, the power structure was clearly defined and yet now the persona seems to have some sort of leverage, " O change thy thought that I may change my mind!" Why would the Fair Youth care what the persona thinks unless they have some sort of connection aside from what has been displayed before. It is almost like the level of intimacy has changed from the previous nine Sonnets.

The final couplet best illustrates the difference between this Sonnet and anything before it as the persona appeals to a love the Fair Youth may have for him. The same individual who loves absolutely nobody? Seems contradictory but Shakespeare thinks it will be enough to change the Fair Youth's mind so it just might be enough even if it is beyond the realms of rationality.

Sonnet 9

Sonnet 9 is the ninth Sonnet in the procreation sequence and makes for an ever escalating display of emotion and anger from the persona. Technically Sonnet 9 and 10 form a diptych though only facilitated by the final couplet of Sonnet 9.

The persona has switched from an accusatory even agitated tone at times to a more understanding and accommodative attitude. Instead of out-rightly arguing that the Fair Youth is wrong, it seems the poet is on a quest to understand the Youth's fears and provide worthwhile solutions. Is this a more effective approach?

"Is it fear to wet a widow's eye," might it be that the Fair Youth is so selfless that his antagonism to having offspring is based on the fear that he may leave behind a grieving widow when he meets his demise? Seems rather unlikely yet perfectly justifiable, who would want to knowingly want to cause pain to a loved one? However, nobody else fails to have a family because of fear of death, does that question its authenticity as a reason?

William Shakespeare certainly thinks so as he asserts that therein lies an irony in the Fair Youth's plan, by depriving the world of an heir he will cause thoughtless pain not just on 'one' widow but the entirety of mankind. What good exists in saving one individual at the expense of all humanity? Use of the word "wail" to depict the forthcoming pain serves to reflect an intense mode of hurt, mourning entwined with excessive lamentation for without an heir to beauty's throne the world is of a much lesser significance.

A comparison of how the world as the widow  and an actual widow would react and cope is employed from line 7 to best illustrate and assist in weighing the options available to the Fair Youth. The conventional widow(private widow) has the eyes of her children, their form, their voices to remind her of her husband and yet the world would be left with nothing to serve as remembrance, a stark emptiness, a void never to be filled except b the bearing of children. Surely this argument must be enough to convince the Fair Youth to change his mind and yet Shakespeare turns to the now ever-relevant theme of 'wastage' and senseless destruction. A gift so important is to be is to be wasted, to never be given away, the persona appeals to the conscience leaving the subject of the Sonnet to question whether they should indeed misuse the power of beauty bestowed upon him.

The final couplet caps it all off with the greatest accusation yet. It is either the Fair Youth fulfills his duty or establishes himself as a narcissistic and loveless individual. Food for thought to conclude the Sonnet. However, is the Fair Youth worried about the World's perception of him?

Sonnet 8

Music is the new image in Sonnet 8, from flowers to seasons and even the mighty sun, the Fair Youth has refused to yield. Will it be music to perform the elusive task of convincing the steadfast youth to finally have children.

The first line, "Music to hear, why hear'st thou music sadly?" seems to refer to the message the persona has been trying to relay all along. A sweet melody, ear candy he portrays the gospel of having offspring as and yet the Fair Youth listens ever disapprovingly.  Why? Shakespeare asks does the Fair Youth insist on interpreting the plea for reproduction negatively. Is it not only logical that the Youth's beauty and that of his children can only be positive just as "joy delights in joy."

Lines 3 and 4 pose the question of why the Youth took upon the mantle of beauty in the first place seeing as he cannot do what is required, to bear offspring. The theme of deception suddenly pops up as it once seemed the Youth was happy with the gift of beauty and yet now his behavior only reflects otherwise.

The second quatrain serves as the gist of the sonnet. It casts the image of an orchestra, all the entwined melodies combining in smooth unison just as a family is meant to be. Use of the compound, "well-tuned"  conjures the feeling of perfection supposedly pervading the image of the 'true concord' a perfection which can exist in the Fair Youth's life if the concord is fittingly completed by the presence of a child. Even with such an analogy, the persona seeks to cater for the doubt that might still linger by addressing it before-hand by affirming that this whole message, pleading, imploring is naught but a sweet chiding. If by any chance the Youth was to become defensive, Shakespeare has created the impression that this is at most just an expression of advice albeit a strong and intricately constructed one.

Direct reference to marriage in "one string sweet husband to another," just about spells out what the persona requires from the Fair Youth, what the World needs  him to do and quite possibly what he should just do. Line 11 puts as plainly as possible, a happy family of three, sire(Youth), a child and a 'happy mother.' One is forced to wonder whether this mother would be happy just like any other after bearing a child or is this to be some form of extra happiness to be drawn solely from bringing into the world, the one child who's birth is so eagerly anticipated.

As is characteristic of Shakespeare's sonnets, the final couplet gives a rather categorical conclusion, one that might be somewhat harrowing for the Fair Youth, some might say hyperbolical but as in all the Sonnets before this, it is one that invokes quite an element of food for thought.

"Thou single wilt prove none," the Fair Youth's very existence will come to no fruition if he is to remain single. In a broad sense there would be no memory of him. No legacy, no trace of there ever having been that inexplicable beauty. Now a traceless existence, one without any resultants is probably no existence at all yet all can be solved by having offspring.

Sonnet 7

Sonnet 7 is hinged on a new piece of imagery: the passage of the Sun from sunrise to sunset. This Classical imagery was fairly common in works of the time as it drew upon mythological tales of Apollo riding in his chariot across the skies. However, just like the ones before it, the major theme is still procreation, a continual plea to the Fair Youth.

Beginning the poem with the word, "Lo," serves to draw maximum attention to what is to come after, as good an introduction as any, as it draws on the familiar phrase 'Lo and behold'. The persona immediately employs flattering descriptions when referring to the Fair Youth with the word "gracious," implying a  generous nature. The pedestal which has been under continuous  construction for the Fair Youth seems to have literally materialised in Line  2 as all those who view the gracious light can only view it from below, looking up to it like expectant disciples. The picture painted is a larger than life figure showering his appreciative subjects with unparalleled beauty. Beauty at its prime and in its most desirable state. An all-conquering demigod as all who look upon him "Doth homage," offer their respect. This line also serves to take us back to supposedly the day of the Fair Youth's birth. The day when all the world did converge before that pleasurable sight much like the birth of an heir to a throne.

Seeing as the Sun is being used as a metaphor for the Fair Youth and his progression through life, the "steep-up heavenly hill," seems to allude to the leap from childhood to the puberty stage and early adulthood. The "heavenly hill" where offspring can be made. It may seem rather outlandish for the word 'heavenly' to connote any form of sexual relevance and yet the feeling of orgasmic ruptures would certainly arouse a 'heavenly' or at least mystic state of being.

Lines 6 and 7 reflect the power of deception and immortality as only "mortal eyes" are deceived by the Sun's fleeting beauty, they continue to see vibrancy and elaborate beauty. Whilst everyone else is under the illusion, the persona apparently sees through the Fair Youth's guise. A hint of megalomania maybe or does he know the Fair Youth so well.

And then noon comes, "high-most pitch," the zenith. The climax of beauty, the point where all development ceases and youth and old age engage in a one-sided tug-o-war. Apollo's chariot is immediately "weary" the Sun "reeleth" in fatigue as the plunge to sunset begins. It is a fore-shadowing of what lies ahead for the Fair Youth. An inevitable consequence as we see it played out by the Sun day by day.

The final couplet brings forth the verdict; like the Sun's light disappearing in the horizon, the beauty will forever fade with no sunrise unless a son is to be born to take upon the throne. A mighty tedious throne as the unrelenting pressure to reproduce cannot be understated.

In Sonnet 7, William Shakespeare makes use of the strongest metaphor yet as the Fair Youth can look upon the Sun every single day and eulogise about his responsibility to the world.

Also worth noting is that not unlike other Shakespearean sonnets, sonnet 7 utilizes simplistic "word play" and "key words" to underline the thematic meaning. These words appear in root form or similar variations. The poetic eye finds interest in the use of 'looks' (line 4), 'looks' (line 7), 'look' (line 12), and 'unlook'd' (line 14). A more thematic word play used is those words denoting 'age', but that are not explicitly identifiable.

Doth homage to his new-appearing sight,
Resembling strong youth in his middle age,
Attending on his golden pilgrimage;

By using words typical of expressing human features (e.g. youth), the reader begins to identify the sun as being representative of man. The sun does not assume an actual 'age', therefore we infer that the subject of the poem is man.

Sonnet 6

Sonnet 6 is so entwined with Sonnet 5 that it may seem to some that the two are meant to be one instead of appearing independently. The Sonnet furthers the constant theme of procreation alongside the Winter imagery from Sonnet 5. Winter is cast as symbolising old age and Summer symbolising youth with the two being diametrically opposed.

The first line creates the impression of a gothic, grim, evil-looking winter intent on wiping away the beauty of the Fair Youth from this world, much like death himself in pursuit of his next victim. Just like in Sonnet 5 the image of a flower represents the Fair Youth and the scent is to be distilled (making of offspring) to be preserved for when the sweet petals dry out.

"Make sweet some vial; treasure thou some place," is a plea for the Fair Youth to engage in sexual relations with some vial (woman), to make of her womb a treasure chest from which the beauty of the world is to later manifest. Or is it that the vial is the child in whose bosom and countenance beauty is to blossom. Failure to do this is tantamount to suicide, "self-killed" and yet such self-purge would probably be the worst form of narcissism considering what the world is to lose due to the remarkably stubborn nature of one individual.

One would be forced to wonder why the Fair Youth is resisting so much, what is there to be lost? Is it a hatred for children, inhibiting circumstances or quite simply a boundless sea of selfishness.

Use in this world, in this life is no crime according to Line 5 and yet nature's bounty must be paid. A payment of offspring (willing loan). Since the Fair Youth up to this point is seemingly unconvinced, Shakespeare seeks to augment his argument by employing the strength in numbers strategy. If the Fair Youth is to have ten children it would be ten times his beauty bestowed upon our world. Ten times he would have defeated the ragged winter and yet the happiness to be gained is just the same as that of having one child. It is quickly turning into somewhat of a negotiation where one asks for far more than they actually want only so as to get the other party to agree to the actual desired figure with no qualms.

Lines 11 and 12 appeal to the inner-most desire for immortality that all human beings possess, that longing to enjoy earth's fruits forever. Shakespeare proposes a way to defeat death. If the Fair Youth is to have a child it would be just like living again and thus outwitting death. The truth of that could be debated but then again there aren't many ways to defeat death so it may be best to take up whichever method presents itself.

The final couplet juxtaposes the themes of narcissism and death with one inevitably leading to the other much like fate. To make worms one's heir is probably the least desirable fate and if the lines preceding this one had not convinced the Fair Youth, this one surely must.

Hamlet also bears a reference to part of the final couplet. "Not where he eats; but where he is eaten: a certain convocation of political worms are e'en at him. Your worm is your only emperor for diet: we fat all creatures else to fat us, and we fat ourselves for maggots: your fat king and lean beggar is but variable service, two dishes, but to one table: that's the end. (4.3.20-25).

Sonnet 5

The Fair Youth is still resisting and Shakespeare persisting. Each time from a considerably different angle, metaphor or image. Sonnet 5 takes us to a perfumery but not before progression of seasons is referenced.

Line 1 introduces the major theme of this poem : Time. The Fair Youth is implored to look back at “hours of gentle work,” supposedly strenuous hours whose employment in vain would be simply tragic. Such “lovely” countenance engineered with the utmost vigilance over time should not then be destroyed (play the tyrant) by the ‘mere’ entity that is time especially as it is all avoidable only by having offspring.

There is an interestingly noticeable peculiarity  in Shakespeare’s description of time. Calling it or the concept a “tyrant” does reflect an extra level of antagonism almost seeming totally extreme. Could it be that the persona is getting ever closer to exasperation or has personal issues with time? In line 4 it seems that time will ravage the beauty to the extent beyond the average, an unfair state probably developing into what may be thought of as punishment.

Line 5 brings fourth the invincibility of time, “never-resting,” the only entity beyond the reach of depreciation as it in turn facilitates the whole process. This tireless beast as it seems could be likened to the likened to the Grim Reaper endlessly escorting beauty , souls, everything to a less desirable place. A place where the Fair Youth is ugly and there is no heir to sit upon his former throne of beauty.

Personification of time into an imploring, coaxing individual renders Summer powerless to escape the clutches of time. Like a sheep to the slaughter (Fair Youth’s beauty), Summer is blindly led to his demise but then again the persona seeks to enlighten Summer on his path to the end. Like a sooth-sayer the persona has put together this warming and yet the Fair Youth seems to see it worthwhile to resist.

Once shining and glistening features supposedly become pale and blood-shot according to life 7. “Sap checked with frost and lusty leaves quite gone,” and then when beauty is overcome, “bareness” is left to pervade the world. A harrowing thought considering the worth of this beauty, the “ beauty where every eye doth dwell.”

Alas do not despair for the scents of Summer are still with us. Scents collected in Summer’s prime preserved to be enjoyed when Summer meets its end. Scents meant as a metaphor for the offspring the Fair Youth should have now in the time of fertility.

If not for the perfumery, Summer would be forgotten and the same path awaits beauty if no preservation is done relatively soon. Failure to do this, all will soon be forgotten. The double negative induced by the pun in “nor,no,” serves to stress the serious nature of the situation and the surety than beauty will be lost to us all forever.

Sonnet 4 and 5 have a rather clear difference in terms of the nature of metaphors used. They seem to point to two distinct professions that is finance and perfumery. Could this be in an way associated to what the Fair Youth was interested or involved in. Sonnet 6 might shed more light as it forms a diptych with Sonnet 5 though the distillatory trope which appears in this poem recurs in Sonnets 54, 74 and 119.

Sonnet 4

The fourth of the procreation Sonnets. Shakespeare’s approach has changed distinctly. Instead of pleading, begging, encouraging and imploring. It is now accusations, naming and shaming, ultimatums and cultivating  a considerable sense of guilt in the Fair Youth’s mind.

The first line immediately sets the tone, accusations and interrogation take centre stage in what seems to be the most emotive Sonnet thus far. One can also sense a degree of anger from the onset. It seems a lack of generosity has developed into wastefulness, “why dost thou spend,” a situation which the persona seems to simply loathe.

As if to diminish the worth of the Fair Youth, Line 3 makes clear that it is not by his own workings that he became what he is but just a gift of nature loaned to him for him to pass on to someone else. The pedestal which the Fair Youth had been on before is swept away by the call for humility as it is made clear that the Fair Youth is naught but Nature’s vessel. A worthy lesson to all that our talents are just but gifts which we gave or did nothing to get. We are to share with others as they were shared with us.

Line 4 augments the entire mood of the poem, through the words “ And being frank” which make clear the categorical nature of the poem. Where the sweet tongue seems to have failed, William Shakespeare seems to tell it as it is.

The first accusation comes in Line 5 a “ beauteous niggard” some may say a miser of his good looks to be interpreted in an entirely negative way. The Fair Youth’s selfish nature is made to look even more dastardly when he abuses what is meant to be shared. He is supposed to be a custodian “usurer” in the very least ensuring none of nature’s gifts go to waste and yet he is the one making sure all of nature’s efforts are in vain.

Line 9 serves to quantify  ( though actually in vain ) the gift of beauty nature has bestowed upon the Fair Youth. “Sum of sums,” seems to insinuate the greatest amount fathomable and to think that is just how much the Fair Youth is keen to keep for himself. He so easily passes for the most selfish individual ever.

Even in anger, confrontation or judgement, Shakespeare cannot bear to utter a negative against such beauty. Just as in the Sonnet before it continues to be, “ thy sweet self,” even as anger pervades the atmosphere. Is the beauty to be so religiously venerated? Or is it the ‘love’ Shakespeare has for the Fair Youth as it would be unwise to insult one’s lover.

Ironically for the Fair Youth, in a bid to out-fox the world and rob it of what is rightfully its own, he is in turn plundering from his own coffers by not bearing offspring. A legacy which might have sprouted, he unknowingly nips in the bud. A happiness which might have blossomed is hindered within. Or maybe the persona is attempting to fool us all ( the readers and the Fair Youth). Maybe there needn’t be offspring except if the persona is to gain from any such. But how?

The theme of death’s certainty is alluded to in Line 11 yet in not so much of a grim manner, rather a categorical one where death is not the actual point to note but rather what is left after death, an abyss where beauty once was. Shakespeare gives the Fair Youth an opportunity to offer justification, “ what acceptable audit canst thou leave?” though in the actual sense it may pass as a rhetorical question as there quite simply can be no justification for such selfishness.

The final couplet acts as a prediction of the end. The wasted beauty will be buried and wiped off the face of the earth forever with no successor to continue the cycle which nature intended.

Shakespeare’s use of financial diction sticks out in Sonnet 4 as if to allude that the Fair Youth would understand better . Or the Sonnet would have a greater general appeal with that sort of language.

Sonnet 3

The third of the procreation Sonnets, Sonnet 3 assumes a food-for –thought approach much unlike the almost desperate imploring employed in the first two. Instead of descriptions like before, Shakespeare seeks to use an ‘authentic’ image as perceived by the ‘Fair Youth’. “Look in thy glass,” the persona says. Can one really deny what they see for themselves? Also for the first time it seems the poet wants to know what the subject thinks of themselves. Does he/she think he/she is worth reproducing? Even the reader would be excited for this moment, the moment to find out whether its mere flattery from Shakespeare or the subject really does look as good as afore described.

Use of the word “Now” in line 2 sort of gives everything that follows a commanding edge, almost like a command for a resolution to be reached. It makes it look like the poet has some sort of hold over the subject. It was persuasion all along but the stakes have changed or have they as the word “should” sort of gives the impression of a matter far from resolution, does he even know that more encouragement is required?

An interesting theme surfaces in line 3,reproduction is a freshening of an image. Much like updating an ‘application’ on one’s mobile phone in modern context. Almost as if to say from generation to generation it is only one life being constantly updated or upgraded.

Some irony in line 4, it sounds like the poet is saying virginity is blessing “unbless some mother” and yet the unblessing of some mother is supposed to bring into the world quite possibly the most beautiful creature ever. The ending of the first quatrain best illustrates the ending to an argument or presentation, a closing plea, command : Fair Youth please do unbless some mother, quite simply the climax of emotion turned into a submission.

The use of the word “For” in line 5 serves to highlight a continuation and that coupled with alliteration in, “ whose weared womb,” serves to augment the rhythmic flow to the poem. In addition to that, the alliteration also seems to bring out the imploring voice of the persona. Where is a ‘companion’ (if the Fair Youth is female and womb becomes metaphor for reproduction) whose own part in consummating this union would ruin the beauty, “disdains the tillage of thy husbandry.” If it is indeed what it seems at face value, that the Fair Youth is male, Shakespeare, on a purely literal level answers probably the greatest question weighing on the subject’s mind. ‘Will my offspring be as beautiful, as ravishing, as angelic as me?’ A subtle yet clear ‘Yes’ from the poet.

It is also worth noting how in line 6 the persona seamlessly manages to incorporate the image of rearing seeds in the agricultural context as a blue-print to what he is asking for from the Fair Youth.

Once again, the poet changes tactics; instead of looking at the present or what the future may hold; he speaks of the past, “Thou art thy mother’s glass and she in thee.” Just like in line 1 and Sonnet 1 and 2, looking at the offspring that has been advocated for so much will be much like a mirror. A mirror to one’s April of youth ( when one did blossom, when one lived their prime, when one looked their best or when one felt at their best). Years of aging reduced to “windows” to look through. In that time when “wrinkles” thy face afflicts; you will have living testament of your ‘golden years.’

The concluding couplet, unlike the two Sonnets before is delivered in a slightly submissive way. The kind of tone that echoes ‘the choice is yours.’ “Die single and thy image dies with thee,” that is quite simply the whole Sonnet summarised in one line. Will you decide to be selfish or give the world memory of thee?

Contrary to popular belief, at no point does Shakespeare reference himself as a suitor as he constantly oscillates from describing the Fair Youth as male or female. He is merely an advisor advocating for the world’s needs. Hero of his own work? Subtly blowing his own horn?

Sonnet 2

The second of the procreation Sonnets, taking forward the theme of time's destruction of beauty. It is a delectable Sonnet on its own and yet it is essential that one looks at it; at least initially; in conjunction with Sonnet 1. Emotions have escalated relatively quickly as Shakespeare seeks to paint as grim a picture as he can so as to coax the Fair Youth into taking up his ideology or even falling in "love" with him? A rather sombre backdrop for one to engage in the art of wooing, but then again this is William Shakespeare.

Starting with the word "When" which may serve as a conjunction or noun gives the descriptions that follow an air of inevitability; a consequence whose fruition or nature cannot be altered. The use of the symbolic number "forty"(a veiled Biblical allusion) conjures a sense of abundance, an image of a long period, a lengthy and gruelling period as endured by the Son Of Man in the desert. Indeed the Fair Youth will suffer as "forty-fold winters" will "besiege" his brow. Seemingly like a hostile army as the word besiege usually entails. The theme of time passing is pretty glaring at this stage and yet it is not just time but difficult years described as winters. They leave his face wrinkled, a wrinkling only worthily described through the alliteration in "dig deep", calling the wrinkles "trenches" strengthens the afore-mentioned idea of the winters being army like. The Fair Youth is at war with the winters thereby also mirroring his current battle with Shakespeare.

In line 3 and 4, Shakespeare then uses the metaphor of clothes depreciating. The degradation from "proud livery" to "tattered weed" and "gazed on now" to "small worth held" serves to vivify the severity of what the Fair Youth is attempting to battle. She wants to face head on one of life's inevitabilities, redefining the fabric of life string by string.She is pushing for immortality, a power well beyond conception.

The persona goes on to allude that the masses will remember, "Then being asked" and expect a store of that beauty from "lusty days" even called a treasure for sheer expression of its worth. A lesson for all this seems to be from William Shakespeare. One will be expected to account for their youthful days , days where one is most vibrant, days where one should establish an heir. Make sure to multiply in your years of fertility the poet would be saying.

There does seem to be at least a tinge of sexual innuendo in "lusty" as it may be taken as the poet referring to more sexually active days in which period it would only be fitting that one produces an heir. This interpretation would authenticate claims that the poet is indeed engaging in some sort wooing process where the subject of the poem is to agree to interactions of a sexual nature.

An "all-eating shame," an acid shame, a carcinogenic shame will fill denuded eyes. The apex of shame will be reached by the Fair Youth should she fail to heed Shakespeare's warning. The description of the shame is so harrowing that it serves as a climax for the poem. If such a gothic image cannot convince the Fair Youth to fall under the persona's wing, very little else will. Much like most of the poem, the evils that lurk in the shadows of old age are of a higher level, a level of hardly conceivable horrors because shame by nature would strike much harder as it comes from within. A sense of empathy might overcome the reader of Sonnet 2 at this stage. The Fair Youth is being cornered into submission and the poet senses that as the tone from then forward grows progressively softer. Almost just like a loving tone.

From line 9 the poem switches to a positive outlook in stark contrast to the lines before. It seems the persona has taken a more imploring stance, outlining the positives. Shakespeare tries to lure the subject with vanity, "more praise," a fool-proof human weakness, particularly shrewd of the persona to change strategy.

The last couplet is basically a story of renewal,life rising from smouldering ashes. A phoenix of some sort, a phoenix of one's making, an heir from one's loins "new made" and to see "warm blood" within one's offspring. In as much as it may not be clear whether the poet has succeeded and yet from the descriptions in the poem one would think it is convincing enough.

Sonnet 1

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.