HAKESPEARE'S ONNETS This is part of the web site of Shakespeare's sonnets
OMMENTARY
SONNET XV
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XV
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The opening thought rings changes on the perennial theme of mortality which so much engrosses the poet's attention. He perceives the hand of doom in the minutiae of nature's processes, and extends the observation to bring it to bear on the beloved youth. Such beauty and perfection is in the young man that the whole world is warring against Time in an effort to prevent his gradual decline from youth into age and death. Yet the poet has an alternative also, that in his verse the youth will live and be immortalised and his beauty will remain eternally new. This is a variation
on the Horatian theme of exegi
monumentum aere perennius and focusses attention not on the
poet himself,
but on the object commemmorated, the loved one who is the subject of so
much praise. With an irony which can hardly have been lost on
Shakespeare,
the youth attains immortality only as an abstraction, the essence of
something
beautiful, for we are never told his name and can never flesh him out
as
it were. But as Shakespeare would have no doubt reminded us, |
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THE 1609 QUARTO VERSION
Whereon the Stars in ſecret influence comment. When I perceiue that men as plants increaſe, Cheared and checkt euen by the ſelfe-ſame skie: Vaunt in their youthfull ſap,at height decreaſe, And were their braue ſtate out of memory. Then the conceit of this inconſtant ſtay, Sets you moſt rich in youth before my ſight, Where waſtfull time debateth with decay To change your day of youth to ſullied night, And all in war with Time for loue of you As he takes from you, I ingraft you new. |
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1. When I consider every thing that grows |
1. When I consider that everything that grows. The phrase seems to be specific, in that it relates only to growing things, and not objects that merely exist, such as 'brass, stone, earth, boundless sea' Sonn. 65, which elsewhere are depicted as undergoing destruction. The poet sees the youth as part of Nature's grand creation, but sharing the deficiencies of decay and death which all such created growing things have. | |
2.
Holds in perfection but a little moment, |
2. Holds in perfection = remains at its state of perfection, encloses perfection within itself. Nature ensures that all organic things reach a point of excellence which has only a brief duration. | |
3. That this huge stage presenteth nought but shows The Globe Theatre. |
3. this
huge stage = the world, the globe,
the grand scheme of the universe; presenteth naught but shows = gives nothing but dramatic spectacles, sham performances. An assertion that the visual reality of the world is illusory, that since it is momentary in its transience, it should not be given great credence or have any sense of worth attached to it. Shakespeare's stage experience would add a special lustre to the imagery of this line.The 'realities' of our existence are as fleeting as the scenes set forth on the boards of the Globe theatre. Perhaps also a reference to Plato's cave, in which reality is depicted as the shadows cast on he wall of a cave by figures dancing in front of a fire, the dancing figures being forever enclosed and never catching a glimpse of daylight. |
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4. Whereon the stars in secret influence comment;
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4. Whereon
= upon which; in secret influence comment = make hidden decisions which influence the things viewed. An invisible fluid was supposed to emanate from the stars which had an effect on the world. in secret influence also suggests secret meetings which decide the fate of individuals. comment is from the Latin commentare 'to devise, invent', hence with a suggestion of 'to devise some future fate'. |
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5. When I perceive that men as plants increase, | 5. increase
= grow, develop, increase in stature;
multiply. |
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6. Cheered and checked even by the self-same sky,
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6. cheered
= encouraged, made happy;
The poet could be hinting that noble birth does not set the youth as high above all surrounding mortality as he believes. |
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7. Vaunt in their youthful sap, at height decrease, | 7. Vaunt in their youthful sap = put on a boastful show (vaunt) when they are young, when their sap is green and vigorous, as in a young plant. at height decrease = decline after they have reached their full growth. | |
8.
And wear their brave state out of memory;
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8. Wear
down to absolute nothingness, after
reaching their pinnacle, so that they are totally forgotten (out
of memory).
their brave state = the proud moment of their glory, their gallantry. The subject is still plants, or men, of line 5. The idea is essentially that of something being totally worn out, as a piece of clothing, which becomes no longer usable. |
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9. Then the conceit of this inconstant stay | 9. conceit
= thought, consideration. It does
not have the modern meaning of 'an exaggerated estimate of one's own
worth'
(OED6). this inconstant stay = our life here upon this earth, which is full of unpredictability. Also, of short duration. |
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10. Sets you most rich in youth before my sight, | 10. most
rich in youth - in contrast
with the scenes of desolation which must follow, your youthfulness is a
time of richness. Sets you perhaps also suggests a stage setting. |
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11.
Where wasteful Time debateth with decay
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11. Time and decay are personified here, as two gruesome characters who discuss how best to achieve their hated aims, the destruction of living things. In effect of course they are both part of the same scene - Time brings decay, and decay is inseparable from any living or extant form. In Coleridge's Ancient Mariner the two spirits, Death, and Life-in-Death, dice for the soul of the mariner.(AM. Part IV). | |
12. To change your day of youth to sullied night,
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12. your
day of youth = your
youthful days. The singular noun gives a more forceful picture than the
common phrase, as if highlighting a particular recent day when the
youth
was at his best. sullied night - night is black and dingy. hideous night and ghastly night are used elsewhere in the sonnets (12 & 27). |
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13. And all in war with Time for love of you, | 13. Love of the youth is declared to be universal. But all are powerless to rescue him from Time's swift foot, and they make war against Time in the fruitless hope of saving him. | |
14. As he takes from you, I engraft you new. | 14. He = Time. The engrafting is presumably the act of describing and celebrating the youth in verse, which gives him each time a new lease of life, as a gardener would (en)graft a new slip of wood onto an old root or stock to create a new tree. | |
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Home | Sonnets 1 - 50 | Sonnets 51 - 100 | Sonnets 101 - 154 | A Lover's Complaint. | Sonnet no. 1 |
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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