Sonnet 29
Encyclopedia
Sonnet 29 is one of 154 sonnets written by the English playwright and poet William Shakespeare
. This is one of his more ambiguous sonnets: one does not know who the speaker is referring to or if the word "love" in this sonnet refers to a romantic love or a platonic love.
In his literary criticism of Stephen Booth’s analysis of the work, Murdo William McRae explains two characteristics of the internal structure of Sonnet 29 that Booth failed to mention that make the work distinctly unique from any of Shakespeare’s other sonnets . The first unique characteristic is the lack of a “when/then” pattern. Traditionally, the first eight lines of a sonnet produce a problem (a “when” statement”) that is then resolved in the last six lines (a “then” statement). McRae points out, however, that the Speaker in this sonnet fails to produce a solution possibly because his overwhelming lack of self-worth prevents him from ever being able to state an actual argument, and instead uses his conclusion to contrast the negative feelings stated in the previous octave. McRae notes that this break from the traditional style of sonnet writing creates a feeling of the sonnet being “pulled apart.” The second unique characteristic is the repetition of the B-rhyme in lines 2 and 4 (“state” and “fate”) as well as 10 and 12 (“state” and “gate”). McRae says that the duplication of the B-rhyme redirects the reader’s attention to the lines, and this “poem within a poem” pulls the piece back together in a way that contrasts its original pulling apart.
However, Shakespeare did not only create a pattern of line rhymes. As Frank explains in his article Shakespeare repeats the word “state” three times throughout the poem with each being a reference to something different. The first “state” referring the Speaker’s condition (line 2), the second to his mindset (line 10), and the third to “state” of a monarch or kingdom (line 14).
This whole issue of the duplicated B-rhyme is addressed in other sources as well. Philip McGuire states in his article that some refer to this as a "serious technical blemish", while others maintain that "the double use of 'state' as a rhyme may be justified, in order to bring out the stark contrast between the Speaker's apparently outcast state and the state of joy described in the third quatrain" . The biggest question seems to surround whether this rhyme decision significantly deviates from the Shakespearean sonnet format or if it was simply the poet's choice.
In his book The Fickle Glass: A Study of Shakespeare's Sonnets, Paul Ramsey points out the line three specifically as "one of the most perturbed lines in our language" . He specifically points out stressed syllables, "troub-," "deaf," and "heav'n", saying they are "jarringly close together" and that "the 'heav'n with' is probably the most violent example in the sonnets of a trochee without a preceding verse-pause... The heaping of stress, the harsh reversal, the rush to a vivid stress - all enforce the angry anti-religious troubled cry." Ramsey breaks down this line very specifically and implies that Shakespeare was incredibly meticulous and deliberate when writing each line to convey his tone and sentiment.
states that there is nothing in the poem that would provide a clue as to whether the poem is directed towards a man or a woman, but assumes, as many do, that Sonnet 29 was written about the young man. Both Paglia and Frank agree that the first octave is about the Speaker’s current depression caused by his social ostracism in his outcast state” (line 2) and personal misfortune that has “curse[d] my fate” (line 4). The Speaker proclaims his jealousy of those that are “rich in hope” (line 5) and “with friends possess'd” (line 6), once again referring to his hopelessness and low social status. Paglia refers to this section of the poem as a “list of half-imaginary grievances.” Frank seems to agree with her statement of “half imaginary” since he believes the Speaker wills his own misery.
As the poem moves from the octave to the sestet, Frank makes note of the Speaker’s “radical movement from despair to alert.” This sudden emotional jump (along with the pattern of the “state”) displays the Speaker’s “wild mood swings.” Frank believes that the last sestet, however, is not as “happy” as some may believe. Using line 10 as his example, Frank points out that the Speaker says he simply “thinks” of his beloved while he is alone which leads one to wonder if the said “sweet love” (line 13) even knows the Speaker exists.
Paglia, however, takes several different views on the poem. For example, she does not actually come out and accuse the Speaker of causing his own suffering. Referencing line 1, she notes that Fortune (personified) has actually abandoned the poor Speaker. This abandonment is the cause of the Speaker’s desire for “this man's art, and that man's scope” (line 7) and has caused the Speaker to only be “contented” (line 8) which hints at the Speaker’s (and possibly Shakespeare’s) lack of artistic inspiration. The final few lines, however, are where Paglia differs the most from Frank. Paglia feels that the “sweet love” of the Speaker’s has been restored and that he has received a “spiritual wealth.” The once jealous and desperate Speaker has now found solace in love knowing that love “dims all material things” that he has been lusting after. In a way the conflict presented has almost been resolved by this restoration of art in the Speaker’s life.
Elizabeth Harris Sagaser sets Sonnet 29 apart from other Elizabethan sonnets in that the speaker is the main focus, as opposed to many love sonnets of the time focused entirely on the object of the speaker's affection, or so they appeared to be. These poems included blazons, or a catalogue of beautiful qualities in the object of the poet's desire; this would seem that the poem is about the woman, not the speaker. However, Sasager says, "I do not mean to imply that... (these poems) are themselves 'about' particular beloveds. But they do pretend to be, and therein is the difference. She goes on to clarify this difference, or what sets sonnet 29 apart from most love object-centered sonnets of the time. "The poet-lover in sonnet 29 admits up front that the fruits of his inward experience are primarily his own, though not his own in terms of everafter fame... Instead, the speaker of 29 is concerned first and foremost with his own persuasion of himself; it is he himself, poet-lover, whom he must incite to wonder" This is to say that though most poetry of the time was at least disguised to be about the object of the speaker's affection, this sonnet does not even attempt to do so. According to Sasager, it is clear that this poem is speaker-focused and about the emotions and experiences of the speaker, not that of the beloved's. As discussed by other critics, Sasager addresses the lack of "when... then" structure saying "the poem shifts to representing a particular moment: not a past moment, but now." She makes a point to say this differs notably from other poems of the time.
Expanding on that notion, Paul Ramsey, in The Fickle Glass: A Study of Shakespeare's Sonnets, claims, "Sonnet 29 says that God disappoints and that the young man redeems". This is to say that the poem is not religious in the institutional way, but rather it is its own kind of religion. Ramsey continues, "Against that heaven, against God, is set the happy heaven where the lark sings hymns. The poem is a hymn, celebrating a truth declared superior to religion." So while Sonnet 29 makes some religious references, Ramsey maintains that these are in fact anti-religious in sentiment.
theatres in 1592 due to a plague
epidemic. Another suggested reason for Shakespeare's "outcast state" is an instance of harsh public criticism of Shakespeare by fellow playwright Robert Greene
. The attack may have had a deep impact on Shakespeare. The speaker then says that in these times he "trouble[s] deaf heaven with his bootless cries", meaning he feels his prayer
s and exhortations are to no avail. The word "trouble" has particular interest because it suggests that he believes his prayers bother heaven, which shows a general exhaustion of hope
and faith on the part of the speaker. The speaker then reveals that he is least satisfied in the things he enjoys most.
The "turn" at the beginning of the third quatrain
occurs when the poet by chance ("haply") happens to think upon the young man to whom the poem is addressed, which makes him assume a more optimistic view of his own life. The speaker likens such a change in mood "to the lark at break of day arising, From sullen earth, sings hymns at heaven's gate". This expression was most probably the inspiration for American poet Wallace Stevens
when he wrote the poem The Worms at Heaven's Gate
in Harmonium
.
The couplet is an emotional declaration that remembrance of his friend's love is enough for him to value his position in life more than a king's. The repeated use of "state" is notable in line 2 and 10 to mean the Poets general condition, in line 14, with double meaning, it can be read to mean a country.
William Shakespeare
William Shakespeare was an English poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon"...
. This is one of his more ambiguous sonnets: one does not know who the speaker is referring to or if the word "love" in this sonnet refers to a romantic love or a platonic love.
Structure of Sonnet 29
Sonnet 29 follows the same basic structure as Shakespeare's other sonnets. The sonnet contains fourteen lines and is written in iambic pentameter, meaning that each of the fourteen lines contains ten syllables that alternate between unstressed and stressed. It is composed of three rhyming quatrains with a rhyming couplet at the end. However, it does not follow the traditional English rhyme scheme of ABAB CDCD EFEF GG. Rather, the scheme is ABAB CDCD EBEB FF. As noted by Bernhard Frank, Sonnet 29 includes two distinct sections with the Speaker explaining his current depressed state of mind in the first octave and then conjuring what appears to be a happier image in the last sestetIn his literary criticism of Stephen Booth’s analysis of the work, Murdo William McRae explains two characteristics of the internal structure of Sonnet 29 that Booth failed to mention that make the work distinctly unique from any of Shakespeare’s other sonnets . The first unique characteristic is the lack of a “when/then” pattern. Traditionally, the first eight lines of a sonnet produce a problem (a “when” statement”) that is then resolved in the last six lines (a “then” statement). McRae points out, however, that the Speaker in this sonnet fails to produce a solution possibly because his overwhelming lack of self-worth prevents him from ever being able to state an actual argument, and instead uses his conclusion to contrast the negative feelings stated in the previous octave. McRae notes that this break from the traditional style of sonnet writing creates a feeling of the sonnet being “pulled apart.” The second unique characteristic is the repetition of the B-rhyme in lines 2 and 4 (“state” and “fate”) as well as 10 and 12 (“state” and “gate”). McRae says that the duplication of the B-rhyme redirects the reader’s attention to the lines, and this “poem within a poem” pulls the piece back together in a way that contrasts its original pulling apart.
However, Shakespeare did not only create a pattern of line rhymes. As Frank explains in his article Shakespeare repeats the word “state” three times throughout the poem with each being a reference to something different. The first “state” referring the Speaker’s condition (line 2), the second to his mindset (line 10), and the third to “state” of a monarch or kingdom (line 14).
This whole issue of the duplicated B-rhyme is addressed in other sources as well. Philip McGuire states in his article that some refer to this as a "serious technical blemish", while others maintain that "the double use of 'state' as a rhyme may be justified, in order to bring out the stark contrast between the Speaker's apparently outcast state and the state of joy described in the third quatrain" . The biggest question seems to surround whether this rhyme decision significantly deviates from the Shakespearean sonnet format or if it was simply the poet's choice.
In his book The Fickle Glass: A Study of Shakespeare's Sonnets, Paul Ramsey points out the line three specifically as "one of the most perturbed lines in our language" . He specifically points out stressed syllables, "troub-," "deaf," and "heav'n", saying they are "jarringly close together" and that "the 'heav'n with' is probably the most violent example in the sonnets of a trochee without a preceding verse-pause... The heaping of stress, the harsh reversal, the rush to a vivid stress - all enforce the angry anti-religious troubled cry." Ramsey breaks down this line very specifically and implies that Shakespeare was incredibly meticulous and deliberate when writing each line to convey his tone and sentiment.
Persona of the speaker
Camille PagliaCamille Paglia
Camille Anna Paglia , is an American author, teacher, and social critic. Paglia, a self-described dissident feminist, has been a Professor at The University of the Arts in Philadelphia, Pennsylvania since 1984...
states that there is nothing in the poem that would provide a clue as to whether the poem is directed towards a man or a woman, but assumes, as many do, that Sonnet 29 was written about the young man. Both Paglia and Frank agree that the first octave is about the Speaker’s current depression caused by his social ostracism in his outcast state” (line 2) and personal misfortune that has “curse[d] my fate” (line 4). The Speaker proclaims his jealousy of those that are “rich in hope” (line 5) and “with friends possess'd” (line 6), once again referring to his hopelessness and low social status. Paglia refers to this section of the poem as a “list of half-imaginary grievances.” Frank seems to agree with her statement of “half imaginary” since he believes the Speaker wills his own misery.
As the poem moves from the octave to the sestet, Frank makes note of the Speaker’s “radical movement from despair to alert.” This sudden emotional jump (along with the pattern of the “state”) displays the Speaker’s “wild mood swings.” Frank believes that the last sestet, however, is not as “happy” as some may believe. Using line 10 as his example, Frank points out that the Speaker says he simply “thinks” of his beloved while he is alone which leads one to wonder if the said “sweet love” (line 13) even knows the Speaker exists.
Paglia, however, takes several different views on the poem. For example, she does not actually come out and accuse the Speaker of causing his own suffering. Referencing line 1, she notes that Fortune (personified) has actually abandoned the poor Speaker. This abandonment is the cause of the Speaker’s desire for “this man's art, and that man's scope” (line 7) and has caused the Speaker to only be “contented” (line 8) which hints at the Speaker’s (and possibly Shakespeare’s) lack of artistic inspiration. The final few lines, however, are where Paglia differs the most from Frank. Paglia feels that the “sweet love” of the Speaker’s has been restored and that he has received a “spiritual wealth.” The once jealous and desperate Speaker has now found solace in love knowing that love “dims all material things” that he has been lusting after. In a way the conflict presented has almost been resolved by this restoration of art in the Speaker’s life.
Elizabeth Harris Sagaser sets Sonnet 29 apart from other Elizabethan sonnets in that the speaker is the main focus, as opposed to many love sonnets of the time focused entirely on the object of the speaker's affection, or so they appeared to be. These poems included blazons, or a catalogue of beautiful qualities in the object of the poet's desire; this would seem that the poem is about the woman, not the speaker. However, Sasager says, "I do not mean to imply that... (these poems) are themselves 'about' particular beloveds. But they do pretend to be, and therein is the difference. She goes on to clarify this difference, or what sets sonnet 29 apart from most love object-centered sonnets of the time. "The poet-lover in sonnet 29 admits up front that the fruits of his inward experience are primarily his own, though not his own in terms of everafter fame... Instead, the speaker of 29 is concerned first and foremost with his own persuasion of himself; it is he himself, poet-lover, whom he must incite to wonder" This is to say that though most poetry of the time was at least disguised to be about the object of the speaker's affection, this sonnet does not even attempt to do so. According to Sasager, it is clear that this poem is speaker-focused and about the emotions and experiences of the speaker, not that of the beloved's. As discussed by other critics, Sasager addresses the lack of "when... then" structure saying "the poem shifts to representing a particular moment: not a past moment, but now." She makes a point to say this differs notably from other poems of the time.
Religious nature of Sonnet 29
Paglia and Frank have similar views on the religious references made throughout the poem. The Speaker first states that heaven is deaf to his “bootless [useless] cries” (line 2). The “lark at break of day arising” (line 11) symbolizes the Speaker’s rebirth to a life where he can now sing “hymns at heaven's gate” (line 12). This creates another contrast in the poem. The once deaf heaven that caused the Speaker’s prayers to be unanswered is now suddenly able to hear. Both authors note the lack of any reference to God and how the Speaker instead speaks only of heaven.Expanding on that notion, Paul Ramsey, in The Fickle Glass: A Study of Shakespeare's Sonnets, claims, "Sonnet 29 says that God disappoints and that the young man redeems". This is to say that the poem is not religious in the institutional way, but rather it is its own kind of religion. Ramsey continues, "Against that heaven, against God, is set the happy heaven where the lark sings hymns. The poem is a hymn, celebrating a truth declared superior to religion." So while Sonnet 29 makes some religious references, Ramsey maintains that these are in fact anti-religious in sentiment.
Synopsis
In Sonnet 29 the speaker describes moments of great sadness, in which he cries over his "outcast state" by himself. This "outcast state" may refer to either a generally unfavorable standing in society or a lack of financial success in the playwriting field. One possible explanation for this lack of success is the closing of LondonLondon
London is the capital city of :England and the :United Kingdom, the largest metropolitan area in the United Kingdom, and the largest urban zone in the European Union by most measures. Located on the River Thames, London has been a major settlement for two millennia, its history going back to its...
theatres in 1592 due to a plague
Bubonic plague
Plague is a deadly infectious disease that is caused by the enterobacteria Yersinia pestis, named after the French-Swiss bacteriologist Alexandre Yersin. Primarily carried by rodents and spread to humans via fleas, the disease is notorious throughout history, due to the unrivaled scale of death...
epidemic. Another suggested reason for Shakespeare's "outcast state" is an instance of harsh public criticism of Shakespeare by fellow playwright Robert Greene
Robert Greene (16th century)
Robert Greene was an English author best known for a posthumous pamphlet attributed to him, Greene's Groats-Worth of Wit, widely believed to contain a polemic attack on William Shakespeare. He was born in Norwich and attended Cambridge University, receiving a B.A. in 1580, and an M.A...
. The attack may have had a deep impact on Shakespeare. The speaker then says that in these times he "trouble[s] deaf heaven with his bootless cries", meaning he feels his prayer
Prayer
Prayer is a form of religious practice that seeks to activate a volitional rapport to a deity through deliberate practice. Prayer may be either individual or communal and take place in public or in private. It may involve the use of words or song. When language is used, prayer may take the form of...
s and exhortations are to no avail. The word "trouble" has particular interest because it suggests that he believes his prayers bother heaven, which shows a general exhaustion of hope
Hope
Hope is the emotional state which promotes the belief in a positive outcome related to events and circumstances in one's life. It is the "feeling that what is wanted can be had or that events will turn out for the best" or the act of "look[ing] forward to with desire and reasonable confidence" or...
and faith on the part of the speaker. The speaker then reveals that he is least satisfied in the things he enjoys most.
- 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;
The "turn" at the beginning of the third quatrain
Quatrain
A quatrain is a stanza, or a complete poem, consisting of four lines of verse. Existing in various forms, the quatrain appears in poems from the poetic traditions of various ancient civilizations including Ancient Greece, Ancient Rome, and China; and, continues into the 21st century, where it is...
occurs when the poet by chance ("haply") happens to think upon the young man to whom the poem is addressed, which makes him assume a more optimistic view of his own life. The speaker likens such a change in mood "to the lark at break of day arising, From sullen earth, sings hymns at heaven's gate". This expression was most probably the inspiration for American poet Wallace Stevens
Wallace Stevens
Wallace Stevens was an American Modernist poet. He was born in Reading, Pennsylvania, educated at Harvard and then New York Law School, and spent most of his life working as a lawyer for the Hartford insurance company in Connecticut.His best-known poems include "Anecdote of the Jar",...
when he wrote the poem The Worms at Heaven's Gate
The Worms at Heaven's Gate
The Worms at Heaven's Gate is a poem from Wallace Stevens' first book of poetry, Harmonium . It was first published in 1916 and is therefore in the public domain....
in Harmonium
Harmonium
A harmonium is a free-standing keyboard instrument similar to a reed organ. Sound is produced by air being blown through sets of free reeds, resulting in a sound similar to that of an accordion...
.
The couplet is an emotional declaration that remembrance of his friend's love is enough for him to value his position in life more than a king's. The repeated use of "state" is notable in line 2 and 10 to mean the Poets general condition, in line 14, with double meaning, it can be read to mean a country.
In popular culture
- in episode 3 ("Siege") from season 1 of Beauty and the BeastBeauty and the Beast (TV series)Beauty and the Beast is an American drama series which first aired on CBS in 1987. Creator Ron Koslow's updated version of the fairy tale has a double focus: the relationship between Vincent , a mythic, noble man-beast, and his Catherine , a savvy assistant District attorney in New York; and a...
, Vincent (portrayed by Ron PerlmanRon PerlmanRonald N. "Ron" Perlman is an American television, film and voice over actor. He is known for having played Vincent in the TV series Beauty and the Beast , a Deathstroke figure known as Slade in the animated series Teen Titans, Clarence "Clay" Morrow in Sons of Anarchy, the comic book character...
) reads this sonnet to Catherine (played by Linda HamiltonLinda HamiltonLinda Carroll Hamilton is an American actress best known for her portrayal of Sarah Connor in The Terminator and its sequel Terminator 2: Judgment Day and Catherine Chandler in the television series Beauty and the Beast, for which she was nominated for two Golden Globes and an Emmy...
) - Edward Lewis, portrayed by Richard GereRichard GereRichard Tiffany Gere is an American actor. He began acting in the 1970s, playing a supporting role in Looking for Mr. Goodbar, and a starring role in Days of Heaven. He came to prominence in 1980 for his role in the film American Gigolo, which established him as a leading man and a sex symbol...
, reads this sonnet to Vivian Ward, played by Julia RobertsJulia RobertsJulia Fiona Roberts is an American actress. She became a Hollywood star after headlining the romantic comedy Pretty Woman , which grossed $464 million worldwide...
, during their scene at the park in Pretty WomanPretty WomanPretty Woman is a 1990 romantic comedy film set in Los Angeles, California. Written by J.F. Lawton and directed by Garry Marshall, this motion picture features Richard Gere and Julia Roberts, and also Hector Elizondo, Ralph Bellamy, and Jason Alexander in supporting roles. Roberts played the only... - In season 2 ("The Measure of a Man") of Star Trek: The Next GenerationStar Trek: The Next GenerationStar Trek: The Next Generation is an American science fiction television series created by Gene Roddenberry as part of the Star Trek franchise. Roddenberry, Rick Berman, and Michael Piller served as executive producers at different times throughout the production...
, Comm. Bruce Maddox reads the first two lines of the sonnet out of Lt. Comm. Data's Shakespeare book - T.S. Eliot quotes this sonnet in his 1930 poem "Ash WednesdayAsh WednesdayAsh Wednesday, in the calendar of Western Christianity, is the first day of Lent and occurs 46 days before Easter. It is a moveable fast, falling on a different date each year because it is dependent on the date of Easter...
": 'Because I do not hope/ Because I do not hope to turn/ Desiring this man's gift and that man's scope/ I no longer strive to strive towards such things/ (Why should the agèd eagle stretch its wings?)' - Featured in the 2002 film Conviction where Omar EppsOmar EppsOmar Hashim Epps is an American actor, singer, songwriter, and record producer. His film roles include Major League II, Juice, Higher Learning, Scream 2, The Wood, In Too Deep, and Love and Basketball. Epps' television work includes the role of Dr. Dennis Gant on the US medical drama series ER,...
, portraying an imprisoned Carl UpchurchCarl UpchurchCarl Douglass Upchurch was an American activist, author and educator. His commitment to education, civic and urban issues, and political justice earned him a national reputation....
, reads the first half of the Sonnet aloud to other prisoners from his cell.
External links
- Paraphrase and analysis (Shakespeare-online)
- CliffsNotes on the sonnet
- Passion in Pieces The series of sonnet films by Sam Small.