HAKESPEARE'S ONNETS
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OMMENTARY
SONNET 129 CXXIX
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CXXIX 1. The expense of spirit in a waste of shame 2. Is lust in action: and till action, lust 3. Is perjured, murderous, bloody, full of blame, 4. Savage, extreme, rude, cruel, not to trust; 5. Enjoyed no sooner but despised straight; 6. Past reason hunted; and no sooner had, 7. Past reason hated, as a swallowed bait, 8. On purpose laid to make the taker mad. 9. Mad in pursuit and in possession so; 10. Had, having, and in quest to have extreme; 11. A bliss in proof, and proved, a very woe; 12. Before, a joy proposed; behind a dream. 13. All this the world well knows; yet none knows well 14. To shun the heaven that leads men to this hell. |
This, one of the most famous sonnets, explores the reaction of the human psyche to the promptings of sexual urges. The folk wisdom of omne animal post coitum triste est, which is often quoted in connection with this sonnet, is banal in comparison to the ideas developed here. One has to look back to the ancient Greek world, and to the plays of Euripides, especially The Bacchae and Hippolytus, to find an equivalent. Particularly striking is the torrent of adjectives describing the build up of desire, and the imagery of the hooked fish which portrays the victim of lust as a frenzied animal expending its last vital energies in paroxysms of rage and futile struggle, even though it is inevitably doomed. In relation to the sonnet sequence as a whole, it is worth noting that nothing like this is found in the series to the young man. The profound hatred of sexuality does not occur within that context, where the passions expressed are undying and lofty, although often intermingled with sexual humour and puns. |
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However readers from cultures other than the predominantly Western ones might find the sonnet puzzling. It gives essentially a phallo-centric view of sex, and its hatred of sexuality derives from the Christian imperative of the virginal life and the dislike of all bodily functions, a philosophy which finds few echoes in Eastern religions where sexuality is often gloriously celebrated. Perhaps it is because it chimes so harmoniously with much that is repressive in traditional Christian sexual morality that it has been so popular. It is of course very difficult to separate out culturally derived ideas from those which spring from an individual's personality, and this sonnet provides no exception to the rule. The extreme sexual pessimism may be viewed as a temporary aberration on the part of the poet, or as an essential element of his personality, or simply as an expression of the prevailing opinion of the time. It is tempting to see this outbreak of sexual melancholia as stemming directly from the passions aroused by the dark lady. That would undoubtedly increase the fascination with her and has no doubt helped to fuel speculation as to her character. But the reality is that biographical details are entirely lacking, even if we knew for certain that she did exist. Because of the sonnet's setting between two relatively light hearted ones, I am more inclined to play down its inherent darkness. Despite its apparent ferocity it may have been written from a detached viewpoint. After all, its writer was capable of portraying the distorted lust of Tarquin in The Rape of Lucrece; he had looked at the machinations of Angelo in Measure for Measure, a man whose sexual passion had subverted entirely the supposed icy chastity of all his former life; he was to portray the mad sexual jealousy of Othello (if he had not already done so when the sonnet was written); and he was to look at the theme again with Leontes in The Winter's Tale. |
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The fact that the sonnet is placed precisely here inevitably leads us to suppose that there is some direct link with his mistress, on whom his heart dotes, even though she is both morally and metaphorically as black as hell, as dark as night. But, as already mentioned, since we have no other biographical or historical details, we cannot even be sure that the woman is a real person or a fictitious creation. The sexual pessimism it shows, although extreme, is not alien to the Christian tradition, which from its earliest years adopted some of the harsher tenets of the asceticism of the ancient Greco-Roman world, with its doctrines of virginity and sexual abstention which date back probably to Pythagoras, and which were maintained as a continuous tradition through Plato and the Stoics long before Christianity took it over. |
By the time he came
to write Antony and Cleopatra
Shakespeare appears to have put this blackness aside and he was able to
celebrate sexuality as a glorification of nature. |
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THE 1609 QUARTO VERSION
Sauage,extreame,rude,cruell,not to truſt, Inioyed no ſooner but diſpifed ſtraight, Paſt reaſon hunted, and no ſooner had Paſt reaſon hated as a ſwollowed bayt, On purpoſe layd to make the taker mad. Made In purſut and in poſſeſſion ſo, Had,hauing,and in queſt,to haue extreame, A bliſſe in proofe and proud and very wo, Before a ioy propoſd behind a dreame, All this the world well knowes yet none knowes well, To ſhun the heauen that leads men to this hell. |
GBE (p.246) lists the
following as potentially
relevant examples of similar thoughts contemporary with Shakespeare, on
which he might have drawn: |
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Shakespeare's sexual
pessimism is usually associated
with the period of his darker plays, Lear, Othello and
Timon (c.1604-8),
and the following passage from Lear is often
quoted in this context:
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(1590) GBE also mentions Wilson's The Arte of Rhetorique (1553) and Robert Southwell's Love's servile lot and Lewd Love is Losse, and his description of sin in St. Peter's Complaint (1595) lines 637 ff. One should also
probably include the following
from The Tears of Fancie by Thomas Watson, 1593,
Sonnet VIII: <<<< See also the passage from Lear opposite, and the further discussion above. |
1. The expense of spirit in a waste of shame
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1.expense
= expenditure; disbursement
of assets; riotous and thoughtless extravagance, as in the following: .... And a
virgin Sir. Why alas, Compare also from
Romeo and Juliet: Why,
universal plodding poisons up A waste of shame = a wasteland, a desert of shameful moral decay, i.e, where no virtue flourishes. waste also meant a useless and extravagant expenditure or consumption, a squandering, (OED.5.a.). Probably also a pun intended on a waist of shame, i.e. a prostitute's body. |
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2. Is lust in action: and till action, lust
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2. lust in action - lust, personified, as it works towards the fulfilment of its aims; or, the physical act of intercourse, driven only by lust; or, the person seized by lust, performing such an action. action is sometimes used by Shakespeare as a synonym for sexual intercourse. As for example in Pericles when the Bawd discusses with Boult the need to acquire more women for the brothel, for the ones they have with continual action are almost as good as rotten Per.IV.2.8. till action = until it achieves its goal. |
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3. Is perjured, murderous, bloody, full of blame,
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3.
bloody = willing to shed blood, bloodstained.
The modern slang word meaning 'very' was not then in use. full of blame = guilty, criminal, full of fault. The word blame tends not to be used as a noun in this way nowadays, except in phrases such as 'No blame attaches to him'. Compare: My high repented blames dear sovereign pardon to me. AWW.V.3.36. |
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4. Savage, extreme, rude, cruel, not to trust;
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4.
savage = devoid of all civilised values,
cruel, immoral. extreme = Going to great lengths in any action, habit, disposition, or opinion; (OED.4.e.) rude = coarse, brutish, uneducated. There are many examples of the word in Shakespeare, mostly in the sense of the modern word 'crude'. As for example. Rude am I in my speech, And little blessed with the soft phrase of peace: Oth.I.3.81-2. The word does not have at this time the modern meaning of 'impolite'. not to trust = not to be trusted. |
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5. Enjoyed no sooner but despised straight; |
5. As soon
as it is experienced hated immediately
thereafter. To enjoy is often used of having
intercourse as in: Neither call
the giddiness of it in question,
the straight = immediately. |
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6. Past reason hunted; and no sooner had, | 6.
Past reason = beyond the control of
reason. hunted - the object hunted is the attainment of the imagined pleasure. no sooner had = as soon as enjoyed, as soon as the sexual congress is finished. to have in this context is equivalent to 'to have intercourse', 'to possess sexually'. |
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7. Past reason hated, as a swallowed bait, |
7.
past reason hated - the subsequent
hatred is as irrational as was the original pursuit. as a swallowed bait = like a bait that a fish swallows. The bait causes the fish to react with frenzy akin to madness. Although bait is a term applied to any poisoned or hooked morsel used to entrap an animal, Shakespeare uses it mainly with reference to angling. E.g.: URSULA. The pleasant'st angling is to see the fish Cut with her golden oars the silver stream, And greedily devour the treacherous bait: So angle we for Beatrice; who even now Is couched in the woodbine coverture. Fear you not my part of the dialogue. HERO. Then go we near her, that her ear lose nothing Of the false sweet bait that we lay for it. MA.III.1.26-32. |
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8. On purpose laid to make the taker mad. | 8. On purpose laid = laid or set as a bait, in order to entrap. Strictly speaking a bait is not laid 'to make the taker mad' but simply to catch or entrap the taker. The effect of it however can be to make the trapped creature react with frenzy. | |
9. Mad in pursuit and in
possession so; |
9.
Mad - this is the generally accepted
emendation of Q's made. The description of Lust
personified, or of
the person afflicted by lust, continues. It is, or he is, mad in the
pursuit
of the object of his lust. in possession so = equally mad when possessing sexually the object of desire. |
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10. Had, having, and in quest to have extreme; | 10.
Had, having - see note to line 6.
in quest to have - in pursuit of intercourse. A quest is a search. extreme = exceeding all the boundaries of reasonable behaviour. |
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11. A bliss in proof, and proved, a very woe;
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11. A
bliss in proof = an ecstatic
sensation while it is being experienced. to prove
something is to
try it out, to experience it (OED 3). As in: The emendation of
this line from Q's A blisse in proofe and proud and very
wo is
generally accepted. See the extensive
note by SB contra an article by Graves and Knight 'A
Study in
Original Punctuation and Spelling' R.Graves & L.
Riding, included
in Graves's The Common Asphodel London 1949. (SB.
447-452.) Note
that proved looks like proud in
the original, suggesting a
visual if not an oral pun at least on proud = erect. The reading proved
is confirmed more by the sequence of thought than
anything else, from
proof to proved, since the
orthography would not in any case
distinguish between proud or proved. The other uses of proved
in
the sonnets are : |
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12. Before, a joy proposed; behind a dream.
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12. Before
= before the act, while
it is still imagined. ...if you
break one jot of your promise or come
one And thou
shalt live in this fair world behind,
We were,
fair queen, a dream - perhaps
reminiscent of |
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13. All this the world well knows; yet none knows well | 13.
All this = all this catalogue of
woe and disgust. the world = everyone in the world. |
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14. To shun the heaven that leads men to this
hell.
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14.
To shun the heaven = to avoid the
tempting sense of delight. that leads men - although men may be taken as mankind in general, there can be no doubt that the views expressed are written from a male perspective. Shakespeare may have had at times an equally jaundiced opinion of female sexuality, as for example in the King Lear extract given in the introductory notes above. But in the plays it is as easy to find as many passages showing a delight in sexual relations between men and women, as it is to discover the contrary. |
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First line index | Title page and Thorpe's Dedication | Some Introductory Notes to the Sonnets | Sonnets as plain text 1-154 | Text facsimiles | Other related texts of the period |
Picture
Gallery |
Thomas Wyatt Poems | Other Authors | General notes for background details, general policies etc. | Map of the site | Valentine Poems |
London Bridge as it was in Shakespeare's day, circa 1600. | Views of London as it was in 1616. | Views of Cheapside London, from a print of 1639. | The Carrier's Cosmography. A guide to all the Carriers in London. As given by John Taylor in 1637. | Oxquarry Books Ltd | |
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