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Shakespeare Love Poems
Famous Shakespeare Sonnets
The famous Shakespeare sonnets were compiled and composed into a book by Thomas Thorpe, and released on the 20th May 1609. Some of the poems were printed without Shakespeare’s permission. The book is a collection of 154 sonnets. The first 17 are called the procreation sonnets and encourage the protagonist to get married and have children.
Some of the other poems express themes such as love, loneliness, death, and ambiguous feelings towards ones mistress. The sonnets did not get much mention at the time but they rose steadily in reputation during the nineteenth century
The characters are the writer (the protagonist), The Fair Youth (also known as the handsome boy) with whom the writer shares a special love which has long been debated as being either homosexual or platonic. Then there is The Rival Poet, and finally The Dark Lady (or the mistress) whom both the writer and the Rival Poet love.
But how to write a sonnet? Sonnets are poems which are 14 lines long, and are composed in three 4-line stanzas (called quatrains) with a final rhyming couplet written in Iambic pentameter. Iambic pentameter means the lines are 10 syllables long, with accents falling on every other syllable.
The rhyming scheme is abab cdcd efef gg. The gg is a rhyming couplet at the end which all Shakespeare’s sonnets end with. This form is now known as the Shakespearean sonnet.
The only exceptions are sonnets 99, 126, 145.
Of the Shakespeare love poems, the sonnets are probably more famous and more accessible than his full length poems such as The Phoenix and the Turtle. The most popular and famous of the Shakespeare love sonnets are:
Sonnet 18 – Shall I compare thee to a Summer’s day?
Shall I compare thee to a summer’s day?
Thou art more lovely and more temperate;
Rough winds do shake the darling buds of May,
And summer’s lease hath all too short a date;
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimm’d;
And every fair from fair sometime declines,
By chance or nature’s changing course untrimm’d;
But thy eternal summer shall not fade,
Nor lose possession of that fair thou ow’st;
Nor shall Death brag thou wander’st in his shade,
When in eternal lines to time thou grow’st:
So long as men can breathe or eyes can see,
So long lives this, and this gives life to thee.
Sonnet 29 – When in disgrace with fortune
When in disgrace with Fortune and men’s eyes,
I all alone beweep my outcast state,
And trouble deaf heaven with my bootless cries,
And look upon myself and curse my fate,
Wishing me like to one more rich in hope,
Featured like him, like him with friends possess’d,
Desiring this man’s art, and that man’s scope,
With what I most enjoy contented least.
Yet in these thoughts myself almost despising,
Haply I think on thee, and then my state,
Like to the lark at break of day arising
From sullen earth, sings hymns at heaven’s gate;
For thy sweet love remembered such wealth brings
That then I scorn to change my state with kings.
Sonnet 30 – When to the sessions
When to the sessions of sweet silent thought
I summon up remembrance of things past,
I sigh the lack of many a thing I sought,
And with old woes new wail my dear time’s waste:
Then can I drown an eye, unused to flow,
For precious friends hid in death’s dateless night,
And weep afresh love’s long since cancell’d woe,
And moan the expense of many a vanish’d sight:
Then can I grieve at grievances foregone,
And heavily from woe to woe tell o’er
The sad account of fore-bemoanèd moan,
Which I new pay as if not paid before.
But if the while I think on thee, dear friend,
All losses are restored and sorrows end.
Sonnet 73 – That time of year
That time of year thou mayst in me behold
When yellow leaves, or none, or few, do hang
Upon those boughs which shake against the cold,
Bare ruin’d choirs, where late the sweet birds sang.
In me thou seest the twilight of such day
As after sunset fadeth in the west,
Which by and by black night doth take away,
Death’s second self, that seals up all in rest.
In me thou see’st the glowing of such fire
That on the ashes of his youth doth lie,
As the death-bed whereon it must expire
Consumed with that which it was nourish’d by.
This thou perceivest, which makes thy love more strong,
To love that well which thou must leave ere long.
Sonnet 116 – Let me not to the marriage of true minds
Let me not to the marriage of true minds
Admit impediments. Love is not love
Which alters when it alteration finds,
Or bends with the remover to remove:
O no! it is an ever-fixèd mark
That looks on tempests and is never shaken;
It is the star to every wandering bark,
Whose worth’s unknown, although his height be taken.
Love’s not Time’s fool, though rosy lips and cheeks
Within his bending sickle’s compass come:
Love alters not with his brief hours and weeks,
But bears it out even to the edge of doom.
If this be error and upon me proved,
I never writ, nor no man ever loved.
Sonnet 126 – O thou my lovely boy
O thou, my lovely boy, who in thy power
Dost hold Time’s fickle glass, his sickle, hour;
Who hast by waning grown, and therein show’st
Thy lovers withering, as thy sweet self grow’st.
If Nature, sovereign mistress over wrack,
As thou goest onwards, still will pluck thee back,
She keeps thee to this purpose, that her skill
May time disgrace and wretched minutes kill.
Yet fear her, O thou minion of her pleasure!
She may detain, but not still keep, her treasure:
Her audit (though delayed) answered must be,
And her quietus is to render thee.
Sonnet 130 – My Mistress’ eyes
My mistress’ eyes are nothing like the sun;
Coral is far more red than her lips’ red ;
If snow be white, why then her breasts are dun;
If hairs be wires, black wires grow on her head.
I have seen roses damask, red and white,
But no such roses see I in her cheeks;
And in some perfumes is there more delight
Than in the breath that from my mistress reeks.
I love to hear her speak, yet well I know
That music hath a far more pleasing sound;
I grant I never saw a goddess go;
My mistress, when she walks, treads on the ground:
And yet, by heaven, I think my love as rare
As any she belied with false compare.
Sonnet 138 – When my love
When my love swears that she is made of truth,
I do believe her though I know she lies,
That she might think me some untutored youth,
Unlearnèd in the world’s false subtleties.
Thus vainly thinking that she thinks me young,
Although she knows my days are past the best,
Simply I credit her false-speaking tongue,
On both side thus is simple truth suppressed.
But wherefore says she not she is unjust?
And wherefore say not I that I am old?
O love’s best habit is in seeming trust,
And age in love loves not to have years told.
Therefore I lie with her, and she with me,
And in our faults by lies we flattered be.
Shakespeare is known for tackling themes that were unheard of in his time. These include,
openly talking about sex (in sonnet 129) and talking about pornography (sonnet 151), political issues (sonnet 124), and playing with gender roles (sonnet 20)
Sonnet 129 (openly talking about sex)
The expense of spirit in a waste of shame
Is lust in action: and till action, lust
Is perjur’d, murderous, bloody, full of blame,
Savage, extreme, rude, cruel, not to trust;
Enjoy’d no sooner but despised straight;
Past reason hunted; and no sooner had,
Past reason hated, as a swallow’d bait,
On purpose laid to make the taker mad:
Mad in pursuit and in possession so;
Had, having, and in quest to have, extreme;
A bliss in proof,— and prov’d, a very woe;
Before, a joy propos’d; behind a dream.
All this the world well knows; yet none knows well
To shun the heaven that leads men to this hell.
Sonnet 151 (talks about pornography)
Love is too young to know what conscience is;
Yet who knows not conscience is born of love?
Then, gentle cheater, urge not my amiss,
Lest guilty of my faults thy sweet self prove:
For, thou betraying me, I do betray
My nobler part to my gross body’s treason;
My soul doth tell my body that he may
Triumph in love; flesh stays no father reason;
But, rising at thy name, doth point out thee
As his triumphant prize. Proud of this pride,
He is contented thy poor drudge to be,
To stand in thy affairs, fall by thy side.
No want of conscience hold it that I call
Her ‘love’ for whose dear love I rise and fall.
Sonnet 124 (political issues)
If my dear love were but the child of state,
It might for Fortune’s bastard be unfather’d,
As subject to Time’s love or to Time’s hate,
Weeds among weeds, or flowers with flowers gather’d.
No, it was builded far from accident;
It suffers not in smiling pomp, nor falls
Under the blow of thralled discontent,
Whereto th’ inviting time our fashion calls:
It fears not policy, that heretic,
Which works on leases of short-number’d hours,
But all alone stands hugely politic,
That it nor grows with heat, nor drowns with showers.
To this I witness call the fools of time,
Which die for goodness, who have lived for crime.
Sonnet 20 (playing with gender roles)
A woman’s face with nature’s own hand painted,
Hast thou, the master mistress of my passion;
A woman’s gentle heart, but not acquainted
With shifting change, as is false women’s fashion:
An eye more bright than theirs, less false in rolling,
Gilding the object whereupon it gazeth;
A man in hue all hues in his controlling,
Which steals men’s eyes and women’s souls amazeth.
And for a woman wert thou first created;
Till Nature, as she wrought thee, fell a-doting,
And by addition me of thee defeated,
By adding one thing to my purpose nothing.
But since she prick’d thee out for women’s pleasure,
Mine be thy love and thy love’s use their treasure.
The identity of the “fair youth” character and his relationship with the writer has caused controversy and has been debated over the years. Some say the love the writer expresses for the fair youth is merely platonic, while others solicit a homosexual relationship. There are two earls who are most commonly suggested as the real identity of the “fair youth”. They are Henry Wriothesley, 3rd Earl of Southampton, and William Herbert, 3rd Earl of Pembroke. Both were patrons of Shakespeare at one time or another. Similar attempts have been made to identify the Rival Poet, and the Dark Lady.
The final 2 sonnets are allegories dealing with the Greek love god Cupid, and the quarto ends with “A Lover’s Complaint”, a narrative poem in which a young woman laments her seduction by a persuasive suitor. It is 47 lines long and composed of seven-line stanzas written in rhyme royal, that is, 7-line iambic pentameter with rhyme scheme ababbcc.
Many of these sonnets show Shakespeare’s best romantic writings, and there are many famous Shakespeare sonnets to choose from if you are looking for romantic ideas. Sonnet 18 – “Shall i compare thee to a summers day?”, For instance, is considered one of his greatest love poems.
Shakespeare’s love sonnets can also be seen as a prototype, or even the beginning, of a new kind of “modern” love poetry
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