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SONNETCAST – William Shakespeare's Sonnets Recited, Revealed, Relived

SONNETCAST – William Shakespeare's Sonnets Recited, Revealed, Relived

By Sebastian Michael

Sebastian Michael, author of The Sonneteer and several other plays and books, looks at each of William Shakespeare's 154 Sonnets in the originally published sequence, giving detailed explanations and looking out for what the words themselves tell us about the great poet and playwright, about the Fair Youth and the Dark Lady, and about their complex and fascinating relationships.

Podcast transcripts, the sonnets, contact details and full info at www.sonnetcast.com
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Sonnet 7: Lo! In the Orient When the Gracious Light

SONNETCAST – William Shakespeare's Sonnets Recited, Revealed, RelivedOct 24, 2022

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The Halfway Point Summary

The Halfway Point Summary

This special episode summarises what we have learnt so far from the first 77 sonnets by William Shakespeare. It recaps the principal pointers that allow us to put together a profile of the young man they were written for or about and outlines the phases of his relationship with our poet, and it also dismantles some of the misconceptions that are sometimes put forward when discussing these poems, especially in relation to potential addressees.

Mar 24, 202445:11
Sonnet 77: Thy Glass Will Show Thee How Thy Beauties Wear

Sonnet 77: Thy Glass Will Show Thee How Thy Beauties Wear

The curiously didactic Sonnet 77 marks the halfway point of the collection of 154 sonnets contained in the 1609 Quarto Edition and it stands out for several reasons.

What most immediately catches the eye is that it seems to be written into or so as to accompany a book of empty pages for its recipient to collect their thoughts and notes in a book of commonplaces, as would have been widely in use at the time. And owing to its tone, it does pose the question whether it is in fact addressed to the same young man as the other sonnets in this large group known as the Fair Youth Sonnets, and if it is, whether it finds itself sequentially in the right place.

Mar 17, 202426:13
Sonnet 76: Why Is My Verse so Barren of New Pride

Sonnet 76: Why Is My Verse so Barren of New Pride

The deceptively unsensational Sonnet 76 asks a simple question and provides to this a straightforward enough answer that will hardly come as a surprise: how is it that I write one sonnet after another and they all sound the same? Because "I always write of you." 

With this one declaration it settles a debate that – in view of its very existence bafflingly – has more recently reappeared in scholarly circles: are these sonnets, such as we have them in the collection originally published in the Quarto Edition of 1609, addressed to or written about principally one person, or could they not also have been composed in the context of a whole raft of relationships over a much longer period than has generally been assumed?

Mar 10, 202423:07
Sonnet 75: So Are You to My Thoughts as Food to Life

Sonnet 75: So Are You to My Thoughts as Food to Life

Sonnet 75 marks a moment of comparative calm in the turbulent relationship between William Shakespeare and his young lover.

With its sober assessment of a continuously conflicted world of emotions that oscillate between abundant joy at being allowed to bask in the presence of the young man and utter dejection at missing him when he is absent, the sonnet seems to reconcile its poet with the reality of loving a person who is, in matters of the heart and most likely others too, a law unto himself.

Mar 03, 202420:31
Sonnet 74: But Be Contented When That Fell Arrest

Sonnet 74: But Be Contented When That Fell Arrest

Sonnet 74 continues the argument from Sonnet 73, and now reflects on what will happen when I, the poet, William Shakespeare, am dead. My body will be buried and return to earth, but my spirit will live on in this poetry that I write for you, the young man, which is why the loss you experience at my death will be insignificant: it only entails my passing physical presence, not my essence. In this, the poem proves prophetic not only in relation to the young lover, but also in relation to the world as a whole, since we still very much possess the spirit of William Shakespeare in his writing, and it also flatly contradicts his own pronouncements made in the pair just preceding this one, Sonnets 71 & 72, in which he – somewhat disingenuously we thought then – presented his poetry as something that is supposed to be 'nothing worth'.

Feb 25, 202427:17
Sonnet 73: That Time of Year Thou Mayst in Me Behold

Sonnet 73: That Time of Year Thou Mayst in Me Behold

Sonnet 73 is the first in a second pair of poems to meditate on the poet's age and mortality and to reflect on the point of his very existence. But while Sonnets 71 & 72 focus on Shakespeare's reputation, which he perceives as poor and which he fears might also tarnish the young man were he to show his love and mourning for Shakespeare after his death, Sonnet 73 concentrates on the wondrous realisation – or possibly hope – that in spite of Shakespeare's age and his approaching what he believes to be his twilight years, the young man not only continues to love him, but appears to appreciate both the need and the opportunity to do so before they must eventually part.

Feb 18, 202423:33
Sonnet 72: O Lest the World Should Task You to Recite

Sonnet 72: O Lest the World Should Task You to Recite

Sonnet 72 picks up on Sonnet 71 and explains why the supposedly 'wise' world would look down on the young man for having loved or for still loving Shakespeare after his death and why he should therefore forget him and allow the poet's name to pass into oblivion, along with his decomposing body in the grave. The sonnet reinforces and intensifies the sense that Shakespeare is or certainly feels unappreciated by the world around him, as he here speaks not only of being 'mocked' by people, but in fact shamed by the work he himself produces.  

Feb 11, 202425:51
Sonnet 71: No Longer Mourn for Me When I Am Dead

Sonnet 71: No Longer Mourn for Me When I Am Dead

Sonnet 71 is the first in a pair of poems which purport to urge the young man to forget the author after his death so as to spare him – the young man – any embarrassment or indeed mockery that having loved or still caring for the then deceased poet might cause him. Both sonnets, but Sonnet 71 in particular, strike an ironic tone, which nevertheless seems founded in an unease on Shakespeare's part about his own reputation and standing in the world. Sonnet 71 thus ushers in a short sequence consisting of this couple of sonnets and the following one, Sonnets 73 & 74, which all concern themselves with William Shakespeare's increasingly strong sense of his mortality and the question of what meaning his life may have in the context of his love for the young man.

Feb 04, 202421:56
Sonnet 70: That Thou Are Blamed Shall Not Be Thy Defect

Sonnet 70: That Thou Are Blamed Shall Not Be Thy Defect

With Sonnet 70, William Shakespeare once more performs the poetic equivalent of a handbrake turn and swivels what we thought we could understand from Sonnet 69 around 180 degrees to race headlong in the opposite direction. The charge levied against his young lover – that with his conduct he has been allowing himself to become 'common' and thus acquire a reputation way beneath his supposedly exalted status – is here lifted, and any such insinuation summarily dismissed as slander, prompting us primarily to wonder: why? What is causing the accusations against the young man in the first place and what then brings about this virtuoso ventriloquy?

Jan 28, 202428:35
Sonnet 69: Those Parts of Thee That the World's Eye Doth View

Sonnet 69: Those Parts of Thee That the World's Eye Doth View

Taken on its own, Sonnet 69 presents a devastating indictment of William Shakespeare's young lover. Its uncompromising juxtaposition of the young man's universally acknowledged beauty against his reputedly flawed character would be enough to put into question whether Shakespeare can still feel at all devoted to him: by itself, the poem is nothing short of shocking. But while it can absolutely stand on its own and nothing within it suggests that the point Shakespeare sets out to make has not been made and the argument he is pursuing not resolved, it is then followed by Sonnet 70 which appears to directly pick up on the charges levied against the young man and equally forcefully defends him against any wrongdoing. The pair thus opens the widest and therefore most dynamic space of tension between two linked sonnets we have yet come across, and it poses further urgent questions about what is happening in the lives of William Shakespeare and his lover, and in their relationship.

Jan 21, 202424:41
Sonnet 68: Thus Is His Cheek the Map of Days Outworn

Sonnet 68: Thus Is His Cheek the Map of Days Outworn

Sonnet 68 continues the argument from Sonnet 67 and shifts the focus of Shakespeare's opprobrium from the fashion for heavy make-up to that for wearing wigs, a practice by him equally abhorred.

Unlike Sonnet 67, Sonnet 68 seems to be virtually devoid of any puns or double meanings that would resonate with us, and so although these two sonnets come as a closely linked pair in which the general note of dismay struck previously with Sonnet 66 continues to reverberate all the way through, Sonnet 68 nevertheless presents an entity of its own that in some respects appears to contrast, so as not to say contradict, Sonnet 67: if Sonnet 67 gave us an at least underlying sense of unease about the young man's own conduct, Sonnet 68 does nothing of the sort and simply holds him up as a flawless example of natural beauty.

Jan 14, 202426:21
Sonnet 67: Ah, Wherefore With Infection Should He Live

Sonnet 67: Ah, Wherefore With Infection Should He Live

Sonnet 67 picks up on the deeply dissatisfied mood of Sonnet 66 and develops the theme of a world that has lost its way right through Sonnet 68. On the surface, Sonnets 67 & 68 concern themselves entirely with the then new fashion – much scorned by Shakespeare – for heavy make-up and big wigs and their wearers' futile endeavours to endow themselves with a fake and therefore ghastly pseudo-beauty that stands in such stark contrast to his young lover's natural and therefore genuine beauty. But Sonnet 67 also – and unlike Sonnet 68 – employs several layered phrases and some obvious as well as some more dubious double meanings that may hint at an underlying unease about the young man's conduct or the state of his reputation. This, while at best subtly suggested in Sonnet 67, will become the direct subject of Sonnets 69 & 70 and once again far more forcefully in Sonnets 94, 95, and 96.

Jan 07, 202431:29
Sonnet 66: Tired With All These, for Restful Death I Cry

Sonnet 66: Tired With All These, for Restful Death I Cry

Sonnet 66 to all intents and purposes is a rant. In it, William Shakespeare uses his opening line to tell us that he is about to name just some of the things that make him want to throw in the towel and die. He then lists eleven of these ills in the world and reserves the closing couplet to reiterate that he's really over it and would gladly turn his back on it all, except that to do so would mean leaving his love behind, thus turning his love, for which of course read his lover, into the sole redeeming feature of an existence that has altogether too many things wrong with it.

Dec 31, 202326:13
Sonnet 65: Since Brass, Nor Stone, Nor Earth, Nor Boundless Sea

Sonnet 65: Since Brass, Nor Stone, Nor Earth, Nor Boundless Sea

Sonnet 65 brings to a close – at least for the moment – this reflection on the passing of time that started with Sonnet 60 and focused quite heavily – certainly in parts – on William Shakespeare's preoccupation with his own age and mortality. The sonnet effectively provides a summing up of the arguments laid out over the previous four or five poems – strictly speaking, Sonnet 61 thematically does not entirely fit into this group – and in doing so it paves the way for a new wave of strongly felt emotions. The sonnet therefore, although it can stand on its own, should really be viewed in the context of these other time-related sonnets and be seen as the conclusion of a consideration that forms a fairly self-contained sequence in its own right.

Dec 24, 202325:42
Sonnet 64: When I Have Seen by Time's Fell Hand Defaced

Sonnet 64: When I Have Seen by Time's Fell Hand Defaced

​With his moving, melancholy Sonnet 64, William Shakespeare continues an ongoing meditation on time, but unlike other sonnets that have gone before or that are soon to come, he here finds no redemption in his own writing or hope in the prospect of being able to lend his lover longevity beyond his presence on the planet through poetry. The sonnet thus offers the perhaps most profoundly troubled perspective yet on the passing of time and with its sincerity paves the way for further heartfelt articulations of what it is to be William Shakespeare in a world where things go awry.

Dec 17, 202320:20
Sonnet 63: Against My Love Shall Be as I Am Now

Sonnet 63: Against My Love Shall Be as I Am Now

In Sonnet 63, William Shakespeare continues his reflection on his own age and now projects this as a dreaded and near-inescapable reality that will one day be visited upon his young lover; but like several sonnets that have come in the collection before, Sonnet 63 both endeavours and promises to render the young lover immune to death, age, and decay through its own everlasting power.

Shakespeare thus counterpoints his horror of age and his growing despair over the unrelenting swift-footedness of time with a renewed confidence in his own poetry, and although Sonnet 63 can stand on its own, it is thematically so strongly linked to Sonnet 62 that it also serves as reliable evidence to support the contention that Sonnet 62, even though it doesn't make this explicit, is of course addressed to a young man and that this is the same young man as is referred to in Sonnet 63 and, as we have sound reason to believe. whom the majority of the sonnets so far are either addressed to or written about.

Dec 10, 202321:11
Sonnet 62: Sin of Self-Love Possesseth All Mine Eye

Sonnet 62: Sin of Self-Love Possesseth All Mine Eye

With his most unsparing sonnet so far, Sonnet 62, William Shakespeare finds yet another register and a new level of depth to both his insight into self and the honesty with which he is prepared to sonneteer his young lover. That his lover is young and he by his own perception and standards old could scarcely be more drastically emphasised than in this depiction of himself as misguidedly narcissistic. The greater therefore the redeeming twist that comes in the concluding couplet which once more emphasises not just the close connection Shakespeare feels to his young lover but reiterates, as other sonnets have done before, that he and the young man are, as far as William Shakespeare is concerned, one.

Dec 03, 202325:44
Sonnet 61: Is it Thy Will Thy Image Should Keep Open

Sonnet 61: Is it Thy Will Thy Image Should Keep Open

With Sonnet 61, William Shakespeare returns to the theme treated in Sonnets 27 & 28 of an enforced separation from his lover that robs him of his sleep, but here brings into the equation the young man's hoped for but absent jealousy, to end on a sense that in fact betrays Shakespeare's own jealousy of the company the young man is keeping while away from him, something that we saw foreshadowed strongly in Sonnet 48.

The sonnet thus echos several of the concerns that have preoccupied our poet from the pair 27 & 28 onwards, right through to Sonnet 51, including the triangular constellation that starts with Sonnet 33 and seems to be resolved, at least for the time-being, with Sonnet 42. This justifiably poses the question whether Sonnet 61 may not indeed have been composed around the same time and be part of the same period of separation, which would support the thesis that at this point the collection falls out of sequence, as is the contention of many scholars.

Nov 26, 202325:26
Special Guests: Sir Stanley Wells and Paul Edmondson – The Order of the Sonnets

Special Guests: Sir Stanley Wells and Paul Edmondson – The Order of the Sonnets

In this special episode, Professor Sir Stanley Wells and Dr Paul Edmondson who severally and jointly have written and edited many books on Shakespeare, talk to Sebastian Michael about their edition All the Sonnets of Shakespeare and how the order of composition differs from the order in which they were first published in 1609, and also about where Shakespeare's other sonnets which he wrote for his plays fit into the collection.

Nov 19, 202350:45
Sonnet 60: Like as the Waves Make Towards the Pebbled Shore

Sonnet 60: Like as the Waves Make Towards the Pebbled Shore

For his quiet mediation on time in Sonnet 60, William Shakespeare once more borrows more or less directly from Ovid's Metamorphoses, a text we know he knew well and that influenced him greatly in the translation of his contemporary Arthur Golding. Its calm philosophical acceptance of mortality notwithstanding, it nevertheless infuses its reflective tone with an underlying anxiety about the drive towards finality that is inherent in our existence, and only just about manages to end on a concluding couplet that once more expresses Shakespeare's hope – as it is in this instance, rather than, as on previous occasions, unquestionable certainty – that his verse will be able to withstand the destructive force of decay.

Nov 12, 202326:44
Sonnet 59: If There Be Nothing New, But That Which Is

Sonnet 59: If There Be Nothing New, But That Which Is

Sonnet 59 takes us back into the realm of the proverb and the poetic commonplace and wonders how – if the old saying holds true that there is nothing new under the sun, but everything recurs in never ending cycles – a previous generation would have viewed and in poetry depicted the young man. Similar to Sonnet 53, it for the most part appears to present a pretty straightforward ode to the lover, but then undermines the praise it heaps upon him with a concluding couplet that can be read in two completely contradictory ways, which suggests that the conflict our poet feels for the object of his affections is far from resolved.

Nov 05, 202323:05
Sonnet 58: That God Forbid That Made Me First Your Slave

Sonnet 58: That God Forbid That Made Me First Your Slave

Sonnet 58 continues from Sonnet 57 and elaborates on Shakespeare's startling sense of subservience to the young man. It simply picks up from the sentiment that "being your slave" I have to wait on and for you and affirms that in this lowly position I cannot presume to have any powers over your conduct or your whereabouts, and in fact I must not even attempt to gain any kind of control over this situation by thinking about what you are up to when you are away from me. 

Oct 29, 202326:26
Sonnet 57: Being Your Slave, What Should I Do But Tend

Sonnet 57: Being Your Slave, What Should I Do But Tend

Sonnets 57 & 58 once again come as a strongly linked pair, and with these sonnets , William Shakespeare positions himself at such a pointedly subservient angle to his lover that we may be forgiven for detecting in them a really rather rare and therefore all the more startling note of sarcasm. The argument that is being pursued is simple enough: I am your slave and therefore you are at liberty to do whatever you want, wherever you choose, with whomsoever you desire, and far be it from me to try to have any say or let alone control over how you spend your time. 
As on previous occasions, we shall look at the two poems together in the next episode, while concentrating on the first one of the two for now.

Oct 22, 202322:46
Sonnet 56: Sweet Love, Renew Thy Force, Be it Not Said

Sonnet 56: Sweet Love, Renew Thy Force, Be it Not Said

Sonnet 56 is the second sonnet in the series so far in which William Shakespeare addresses not the young man, nor us as the general reader or listener about the young man, but an abstract concept, in this case love. The first instance when Shakespeare did something similar was Sonnet 19, which addressed itself to time. Here as then, this changes our perspective and lends the poem an emotional distance, which here is complemented by a direct reference to a hiatus in the relationship.

Oct 15, 202319:18
Sonnet 55: Not Marble, Nor the Gilded Monuments

Sonnet 55: Not Marble, Nor the Gilded Monuments

With the supremely confident Sonnet 55, William Shakespeare returns to a theme he has handled similarly deftly before: the power of poetry itself to make the young man live forever. In a departure from previous instances, he here appears to borrow directly from Horace and Ovid, who are both Roman poets of the turn into the first millennium of the Common Era, striking a therefore more generic note, but unlike these classical precedents for verses that can outlast the supposedly durable substances of physical structures, he employs his poem once again not to celebrate himself but to praise his young lover. 

Oct 08, 202324:57
Sonnet 54: O How Much More Doth Beauty Beauteous Seem

Sonnet 54: O How Much More Doth Beauty Beauteous Seem

After the turmoil of Sonnets 33 to 42 and the prolonged period of separation signalled by Sonnets 43 to 51, which in turn was followed by a joyous, sensual and tender reunion with Sonnets 52 and 53, Sonnet 54 assumes a more aloof, marginally moralistic tone which nevertheless manages to connect with, and in fact reference, sonnets that appeared much earlier in the series, specifically Sonnets 5 & 6, in which William Shakespeare encouraged the young man to distil his beauty by giving his essence to a woman and producing an heir, much as roses are distilled as perfume and thus live on long after their death. 

Oct 01, 202318:49
Sonnet 53: What Is Your Substance, Whereof Are You Made

Sonnet 53: What Is Your Substance, Whereof Are You Made

The tender and complex Sonnet 53 – just over a third into the series – finds yet another entirely new register and conjures up not only an image of a beautiful person being admired but also a sense of great intimacy that comes delicately paired with that feeling of wonder at something almost alien that may just be too good to be true.

Sep 24, 202328:07
Sonnet 52: So Am I as the Rich, Whose Blessed Key

Sonnet 52: So Am I as the Rich, Whose Blessed Key

The astonishingly suggestive Sonnet 52 is the closest William Shakespeare has come so far to answering in his own words the question that has agitated readers of these sonnets for centuries: is this a physical, even sexual, relationship he is having with the young man, or could it not simply be one that is very close, maybe romantic, but nevertheless purely platonic. With its choice and precisely placed vocabulary, it relates an either already experienced or imminent reunion and thus also marks the end of the prolonged period of separation that appears to have been imposed on Shakespeare and his young lover since Sonnet 43.

Sep 17, 202325:39
Sonnet 51: Thus Can My Love Excuse the Slow Offence

Sonnet 51: Thus Can My Love Excuse the Slow Offence

Sonnet 51 picks up from the dull-paced journey of Sonnet 50 and contrasts this with the poet's boundless desire for speed once he is on the way back home to his lover. It also marks the end of the extended period of separation that began with Sonnet 43 and so concludes this sequence of nine sonnets that appear to have been written while Shakespeare is away from London.

Sep 10, 202316:03
Sonnet 50: How Heavy Do I Journey on the Way

Sonnet 50: How Heavy Do I Journey on the Way

Sonnets 50 & 51 once again come as a pair, whereby Sonnet 50 evokes in a measured tone of melancholy the sorrow and sadness Shakespeare senses on a strenuous journey at slowly having to move further and further away from his lover, while Sonnet 51 then contrasts this with a notion of just how eager he will be on his way back to him and how fast he wishes that return leg of the journey could happen.
As on previous occasions, we will look at both these sonnets back-to-back in the next episode, but concentrate on the first one of the pair, Sonnet 50, for now.

Sep 03, 202313:34
Sonnet 49: Against That Time, if Ever That Time Come

Sonnet 49: Against That Time, if Ever That Time Come

The soberly solemn Sonnet 49 opens an unnervingly real register that does away with hyperbolic praise, clever contrivance, or poetic acrobatics, and instead drives through a short structured sequence of dreaded but perfectly plausible scenarios towards a devastating denouement. Seldom until now and rarely hereafter do we hear Shakespeare quite so roundly, so comprehensively, and above all so authentically self-aware and self-effacing.

Aug 27, 202318:32
Sonnet 48: How Careful Was I When I Took My Way

Sonnet 48: How Careful Was I When I Took My Way

Sonnet 48 ends the emotional hiatus brought into the sequence by the previous five sonnets and plunges our poet back into a deep anxiety about how much he can trust that his lover will still be there when he returns from his trip.

Aug 20, 202314:47
Sonnet 47: Betwixt Mine Eye and Heart a League Is Took

Sonnet 47: Betwixt Mine Eye and Heart a League Is Took

Sonnet 47 again follows on directly from Sonnet 46, developing the argument further and arriving at a conclusion which is also maybe not altogether surprising, but which validates the premise set out with Sonnet 46 much more than that on its own led us to expect, thus tying Sonnet 46 tightly into this couple as a unit.

Aug 13, 202315:40
Sonnet 46: Mine Eye and Heart Are at a Mortal War

Sonnet 46: Mine Eye and Heart Are at a Mortal War

Sonnet 46 is the first in a second couple of sonnets that take a more abstract approach to dealing with separation, while employing a fairly established classical trope, in this case a conflict between the eye and the heart over which of these two should 'own' the young lover. Similar to Sonnet 44 in the previous pair, Sonnet 46 can ostensibly stand on its own, but it nevertheless serves as the foundation for its counterpart, Sonnet 47, which follows on from it directly and really needs to be read as an extension of it. We will therefore again look at both sonnets together in the next episode, whilst concentrating here on Sonnet 46.

Aug 06, 202314:16
Sonnet 45: The Other Two, Slight Air and Purging Fire

Sonnet 45: The Other Two, Slight Air and Purging Fire

Sonnet 45 follows on directly from Sonnet 44 as a seamless continuation and therefore needs to be read in tandem with it for it to make sense. With Sonnet 44 having introduced the two classical elements earth and water and explained how it is their heavy materiality that prevents William Shakespeare from being with his young lover, Sonnet 45 now speaks to the nature of the remaining two elements, air and fire, and finds a way to express how it is that even though they be physically insubstantial and infused with liveliness, they still contribute to his prevailing sadness about this period of separation.

Jul 30, 202317:04
Sonnet 44: If the Dull Substance of My Flesh Were Thought

Sonnet 44: If the Dull Substance of My Flesh Were Thought

Sonnet 44 is the first in two pairs of poems that together sit in a larger group of sonnets which see William Shakespeare spending time away from his young lover and expressing his anguish over this absence. It comes in an unequal coupling with Sonnet 45, whereby 44 can easily stand on its own, but 45 directly follows on from 44 and only makes sense when read in its context. And of course, we will look at them both together in the next episode. This instalment though focuses on 44.

Jul 23, 202312:54
Sonnet 43: When Most I Wink Then Do Mine Eyes Best See

Sonnet 43: When Most I Wink Then Do Mine Eyes Best See

Sonnet 43 leaves behind, for the time-being, the upheaval and upset caused by the young man's betrayal of Shakespeare with his own mistress and picks up the theme – and to a lesser extent mood – of Sonnets 27 & 28 when Shakespeare – away from his young lover and tired with travel – is kept awake by the beautiful young man's vision appearing to him in his dreams.

Jul 16, 202320:55
Special Guest: Professor Stephen Regan – The Sonnet as a Poetic Form

Special Guest: Professor Stephen Regan – The Sonnet as a Poetic Form

In this special episode, Stephen Regan, Professor Emeritus at Durham University, who is currently a research associate in the School of Culture and Communication at the University of Melbourne and the author of The Sonnet (Oxford University Press, 2019), talks to Sebastian Michael about the sonnet as a poetic form: its origins, how it reaches the English language, what Shakespeare does with it that is so extraordinary, and what its outlook is for the 21st century and beyond.

Jul 09, 202349:56
Sonnet 42: That Thou Hast Her, it Is Not All My Grief

Sonnet 42: That Thou Hast Her, it Is Not All My Grief

In the second of two sonnets that try to deal with the fallout from the young man's infidelity, William Shakespeare contorts himself into an argument that, really, both his young lover and his mistress did what they did only for the love they both bear him. That this is something of a delusion is a conclusion he himself comes to as easily as we do. Sonnet 42 nevertheless yields a valuable new insight into the suddenly so complex situation by drawing a clear distinction between the levels of priority and the types of connection William Shakespeare feels he has with the other two protagonists of what, without his own intention or let alone approval, has turned into a remarkably post-modern love triangle. 

Jul 02, 202320:01
Sonnet 41: Those Pretty Wrongs That Liberty Commits

Sonnet 41: Those Pretty Wrongs That Liberty Commits

Sonnet 41 is the first of two sonnets in which William Shakespeare tries to make sense of the young man's transgression and to absolve him of any guilt. Like its companion Sonnet 42, it can be read independently and does not form an actual pair, and like Sonnet 42 it doesn't really succeed at what it sets out to do, because by the end of it, it is as clear to us as it is to William Shakespeare that both the young man and Shakespeare's mistress, with whom the young man has had a sexual encounter, have in effect betrayed our poet. What both Sonnet 41 and Sonnet 42 make abundantly clear and leave no doubt about is that this is exactly what has happened and that for William Shakespeare the most important thing now is to reassure himself as well as his young man that, as Sonnet 40 concludes: "we must not be foes," because clearly he cares too much for him than to let this peccadillo spell the end of their relationship.

Jun 25, 202321:42
Sonnet 40: Take All My Loves, My Love, Yea, Take Them All

Sonnet 40: Take All My Loves, My Love, Yea, Take Them All

With his forcefully forgiving Sonnet 40, William Shakespeare finally connects us right back to Sonnet 35 and sets out on a short sequence which explains with startling frankness what has happened and what should now, and, more to the point, should not now be the consequence of this. That Shakespeare feels desolate about his lover's 'ill deeds' is beyond doubt, as is the fact that this sonnet goes straight to the heart of the matter: love. This poet, who has the greatest vocabulary of any writer in the English language if not ever then certainly up until then uses the word 'love' ten times here – more often than in any other sonnet – to mean either the emotion itself or whoever may be this other person or indeed these other people whom he directs this emotion towards in a relationship that has suddenly become at the very least triangular in the most spectacular fashion.

Jun 18, 202319:46
Sonnet 39: O How Thy Worth With Manners May I Sing

Sonnet 39: O How Thy Worth With Manners May I Sing

Sonnet 39 is the last of four sonnets that seem to disrupt the sequence of events until Sonnet 35, and picks up more or less directly with Sonnet 36 by suggesting that it would be best if William Shakespeare were separate from the young man, though for wholly different reasons. The sonnet appears to post-rationalise an imposed absence of, or from, the young man, while also echoing the question posed by Sonnet 38 of how to sing the young man's praises, but then again developing this into a totally different direction. As with Sonnets 36, 37, and 38, it is not entirely clear whether this sonnet has been grouped together with these other poems here simply because it appears to make reference to at least two of them, or whether it really does belong into this smaller group, irrespective of whether that smaller group is in the right place or not.

Jun 11, 202316:34
Sonnet 38: How Can My Muse Want Subject to Invent

Sonnet 38: How Can My Muse Want Subject to Invent

With his remarkably deadpan Sonnet 38, William Shakespeare changes tone completely and positions his own poetry as the product of the man who has so long now been his Muse. Like Sonnet 37, it does not obviously fit into the sequence, but like Sonnet 37, it still clearly speaks to the same young man and also like Sonnet 37, it references topics that have been expressed earlier in the series: in this case the particular relationship that exists between a poet and the person he is inspired by to write poetry for, something that has been addressed as early as Sonnet 21, where Shakespeare compared himself favourably to the kind of poet who sings his love's praises in unsubstantiated hyperbole.

Jun 04, 202322:50
Sonnet 37: As a Decrepit Father Takes Delight

Sonnet 37: As a Decrepit Father Takes Delight

In the first of three sonnets that appear to disrupt the sequence that concerns itself with the young man's evident infidelity, Sonnet 37 revisits the themes previously encountered of the poet's keenly felt lack of luck, absence of esteem, and sorely missing success, and contrasts this with the young man's abundant riches, both material and metaphorical, describing them as a source of sustenance and survival even while Fortune bestows her gifts elsewhere.

May 28, 202318:46
Sonnet 36: Let Me Confess That We Two Must Be Twain

Sonnet 36: Let Me Confess That We Two Must Be Twain

With the curious Sonnet 36 William Shakespeare appears to be either inverting the guilt and shame that the previous three sonnets have laid upon the young man for his evident transgression and projecting it directly on himself, or to be uncovering a new source of scandal that gives him reason to suggest – borderline disingenuously, it might seem – that they dissociate themselves from each other, even though in the same breath it also emphatically confirms the love they hold for each other.

May 21, 202321:07
Sonnet 35: No More Be Grieved at That Which Thou Hast Done

Sonnet 35: No More Be Grieved at That Which Thou Hast Done

With his tormented, paradoxical, and sensationally revealing Sonnet 35, William Shakespeare absolves the young man of his misdeed and puts what has happened down to nothing in the world being perfect, not even he. It is the third in this set of three sonnets that might be considered a triptych, and with it, Shakespeare appears to resign himself into the triangular complexity his relationship with the young man has acquired, while dropping a nugget of information that to us comes as something of a poetic bombshell.

May 14, 202321:03
Sonnet 34: Why Didst Thou Promise Such a Beauteous Day

Sonnet 34: Why Didst Thou Promise Such a Beauteous Day

The devastated and devastatingly powerful Sonnet 34 picks up from where Sonnet 33 wanted to not only leave off but let go, and like a second wave of pain and mourning asks the young man directly why he has allowed the gorgeous sunshine of this relationship to be cast over with appalling weather. And unlike Sonnet 33, it not only tries, but apparently succeeds at forgiving the young man's conduct, paving the way for an even more conciliatory Sonnet 35, principally – and most tellingly – prompted by the young man's apparent response to being so called out.

May 07, 202318:20
Sonnet 33: Full Many a Glorious Morning Have I Seen

Sonnet 33: Full Many a Glorious Morning Have I Seen

With Sonnet 33 a new phase begins in the relationship between William Shakespeare and the young man. The storm clouds that gather in this poem are a direct and intentional metaphor for the turbulence the two face, as the young man has clearly gone and done something to upset his loving poet. What exactly this is, the sonnet doesn't tell us, but it is obvious that Shakespeare is hurt and disappointed, whilst trying to rationalise the young man's behaviour in a way that makes some sort of sense to him.

Apr 30, 202319:57
Sonnet 32: If Thou Survive My Well-Contented Day

Sonnet 32: If Thou Survive My Well-Contented Day

The wryly ironic Sonnet 32 marks a caesura in the canon, as it sits right between a development arc in the relationship that spans the sequence uninterrupted from Sonnet 18 to Sonnet 31, while giving nothing away of the entirely new phase the relationship enters with the storm clouds that gather in Sonnet 33. In tone, in attitude, in self-evaluation, it gains access to a register different to any that has gone before and quite unlike any that is soon to come, and so it stands out, rather, for being really quite unique.

Apr 23, 202320:01
Sonnet 31: Thy Bosom Is Endeared With All Hearts

Sonnet 31: Thy Bosom Is Endeared With All Hearts

With the astonishingly bold, borderline brazen, Sonnet 31, William Shakespeare strikes a completely new tone and tells both his young lover and us things he has not revealed before. It comes as close as we have seen thus far to declaring a physical component to their relationship, and in doing so opens an entirely new chapter with a whole different dynamic.

Apr 16, 202323:34