By Dr Oliver Tearle (Loughborough University)
‘Two loves I have of comfort and despair’, begins William Shakespeare in sonnet 144. Although this sonnet appears in the section of Shakespeare’s sonnet sequence that is principally concerned with the ‘Dark Lady’, sonnet 144 is noteworthy for discussing both the Fair Youth (from earlier in the sequence) and the Dark Lady side by side, comparing the two.
The top ten greatest sonnets by William Shakespeare, selected by Dr Oliver Tearle
Previously, we’ve analysed a good number of Shakespeare’s sonnets here at Interesting Literature, offering a brief summary and analysis of the sonnet in question and exploring its most significant points of interest. But we gave up analysing every single sonnet by the time we got to around a third of the way in. Not every Shakespeare sonnet is a classic, simply because it was written by the Bard. Below, we’ve chosen ten of the very best Shakespeare sonnets.
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…
This is where Shakespeare’s Sonnets start to get interesting, after the opening sequence of 17 ‘Procreation Sonnets’. Boasting one of the most famous opening lines in all of English verse, Sonnet 18 shows that Shakespeare is already sure that his poetry will guarantee the young man his immortality after all.
A commentary on Shakespeare’s 130th sonnet
Shakespeare’s Sonnet 130 (‘My mistress’ eyes are nothing like the sun’) has to be one of the top five most famous poems from the sequence of 154 sonnets, and it divides critical opinion. Is this poem a touching paean to inner beauty (opposed to superficiality) or is it misogynist trash? The jury is still out, as we’ll see. Anyway, before we proceed to our analysis of this divisive poem, here is Sonnet 130.
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 damasked, 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:
By Dr Oliver Tearle (Loughborough University)
When we reach no. 129 in Shakespeare’s Sonnets (‘The expense of spirit in a waste of shame’), we come across a rarity: two classic sonnets one after the other (we’ll come to Sonnet 130 next week). This first one is famous for its analysis of the psyche (particularly the male psyche) after sexual gratification has been achieved.
A commentary on Shakespeare’s 105th sonnet
‘Let not my love be called idolatry’, Shakespeare’s Sonnet 105, sees the Bard continue to meditate on the nature of his love for the Fair Youth. Here’s a reminder of Sonnet 105 before we proceed to a commentary on its language and meaning.
Let not my love be called idolatry,
Nor my beloved as an idol show,
Since all alike my songs and praises be
To one, of one, still such, and ever so.
Kind is my love to-day, to-morrow kind,
Still constant in a wondrous excellence;
Therefore my verse to constancy confined,
One thing expressing, leaves out difference.
Fair, kind, and true, is all my argument,
Fair, kind, and true, varying to other words;
And in this change is my invention spent,
Three themes in one, which wondrous scope affords.