Poems List

Sonnet CIV

Sonnet CIV

To me, fair friend, you never can be old,
For as you were when first your eye I eyed,
Such seems your beauty still. Three winters cold
Have from the forests shook three summers' pride,
Three beauteous springs to yellow autumn turn'd
In process of the seasons have I seen,
Three April perfumes in three hot Junes burn'd,
Since first I saw you fresh, which yet are green.
Ah! yet doth beauty, like a dial-hand,
Steal from his figure and no pace perceived;
So your sweet hue, which methinks still doth stand,
Hath motion and mine eye may be deceived:
For fear of which, hear this, thou age unbred;
Ere you were born was beauty's summer dead.
348

Sonnet CII

Sonnet CII

My love is strengthen'd, though more weak in seeming;
I love not less, though less the show appear:
That love is merchandized whose rich esteeming
The owner's tongue doth publish every where.
Our love was new and then but in the spring
When I was wont to greet it with my lays,
As Philomel in summer's front doth sing
And stops her pipe in growth of riper days:
Not that the summer is less pleasant now
Than when her mournful hymns did hush the night,
But that wild music burthens every bough
And sweets grown common lose their dear delight.
Therefore like her I sometime hold my tongue,
Because I would not dull you with my song.
389

Sonnet C

Sonnet C

Where art thou, Muse, that thou forget'st so long
To speak of that which gives thee all thy might?
Spend'st thou thy fury on some worthless song,
Darkening thy power to lend base subjects light?
Return, forgetful Muse, and straight redeem
In gentle numbers time so idly spent;
Sing to the ear that doth thy lays esteem
And gives thy pen both skill and argument.
Rise, resty Muse, my love's sweet face survey,
If Time have any wrinkle graven there;
If any, be a satire to decay,
And make Time's spoils despised every where.
Give my love fame faster than Time wastes life;
So thou prevent'st his scythe and crooked knife.
277

Sonnet 96: Some say thy fault is youth, some wantonness

Sonnet 96: Some say thy fault is youth, some wantonness

Some say thy fault is youth, some wantonness;
Some say thy grace is youth and gentle sport;
Both grace and faults are loved of more and less;
Thou mak'st faults graces that to thee resort.
As on the finger of a thronèd queen,
The basest jewel will be well esteemed.
So are those errors that in thee are seen
To truths translated, and for true things deemed.
How many lambs might the stern wolf betray,
If like a lamb he could his looks translate!
How many gazers mightst thou lead away,
if thou wouldst use the strength of all thy state!


But do not so; I love thee in such sort
As thou being mine, mine is thy good report.
283

Sonnet 98: From you have I been absent in the spring

Sonnet 98: From you have I been absent in the spring

From you have I been absent in the spring,

When proud-pied April, dressed in all his trim,

Hath put a spirit of youth in every thing,

That heavy Saturn laughed and leaped with him.

Yet nor the lays of birds, nor the sweet smell

Of different flowers in odour and in hue

Could make me any summer's story tell,

Or from their proud lap pluck them where they grew.

Nor did I wonder at the lily's white,

Nor praise the deep vermilion in the rose;

They were but sweet, but figures of delight

Drawn after you, you pattern of all those.
Yet seemed it winter still, and you away,
As with your shadow I with these did play.
297

Sonnet 93: So shall I live, supposing thou art true

Sonnet 93: So shall I live, supposing thou art true

So shall I live, supposing thou art true,
Like a deceived husband; so love's face
May still seem love to me, though altered new;
Thy looks with me, thy heart in other place:
For there can live no hatred in thine eye,
Therefore in that I cannot know thy change.
In many's looks, the false heart's history
Is writ in moods, and frowns, and wrinkles strange.
But heaven in thy creation did decree
That in thy face sweet love should ever dwell;
Whate'er thy thoughts, or thy heart's workings be,
Thy looks should nothing thence, but sweetness tell.
How like Eve's apple doth thy beauty grow,
If thy sweet virtue answer not thy show!
327

Sonnet 94: They that have power to hurt and will do none

Sonnet 94: They that have power to hurt and will do none

They that have power to hurt and will do none,
That do not do the thing, they most do show,
Who, moving others, are themselves as stone,
Unmovèd, cold, and to temptation slow,
They rightly do inherit heaven's graces,
And husband nature's riches from expense;
They are the lords and owners of their faces,
Others, but stewards of their excellence.
The summer's flower is to the summer sweet,
Though to itself, it only live and die,
But if that flower with base infection meet,
The basest weed outbraves his dignity.


For sweetest things turn sourest by their deeds;
Lilies that fester smell far worse than weeds.
299

Sonnet 9: Is it for fear to wet a widow's eye

Sonnet 9: Is it for fear to wet a widow's eye

Is it for fear to wet a widow's eye,
That thou consum'st thy self in single life?
Ah, if thou issueless shalt hap to die,
The world will wail thee like a makeless wife.
The world will be thy widow and still weep,
That thou no form of thee hast left behind,
When every private widow well may keep,
By children's eyes, her husband's shape in mind.
Look what an unthrift in the world doth spend
Shifts but his place, for still the world enjoys it;
But beauty's waste hath in the world an end,
And kept unused the user so destroys it.


No love toward others in that bosom sits
That on himself such murd'rous shame commits.
313

Sonnet 91: Some glory in their birth, some in their skill

Sonnet 91: Some glory in their birth, some in their skill

Some glory in their birth, some in their skill,

Some in their wealth, some in their body's force,

Some in their garments though new-fangled ill,

Some in their hawks and hounds, some in their horse;

And every humour hath his adjunct pleasure,

Wherein it finds a joy above the rest,

But these particulars are not my measure;

All these I better in one general best.

Thy love is better than high birth to me,

Richer than wealth, prouder than garments' costs,

Of more delight than hawks and horses be;

And having thee, of all men's pride I boast—
Wretched in this alone, that thou mayst take,
All this away and me most wretched make.
362

Sonnet 88: When thou shalt be disposed to set me light

Sonnet 88: When thou shalt be disposed to set me light

When thou shalt be disposed to set me light

And place my merit in the eye of scorn,

Upon thy side, against myself I'll fight,

And prove thee virtuous, though thou art forsworn.

With mine own weakness being best acquainted,

Upon thy part I can set down a story

Of faults concealed, wherein I am attainted,

That thou in losing me shalt win much glory.

And I by this will be a gainer too;

For bending all my loving thoughts on thee,

The injuries that to myself I do,

Doing thee vantage, double-vantage me.
Such is my love, to thee I so belong,
That for thy right, myself will bear all wrong.
363

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Identification and basic context

William Shakespeare is the most celebrated playwright and poet in the English language. He is often referred to by his pseudonyms, though none were widely adopted during his lifetime. He was born and died in Stratford-upon-Avon, England. His father was a glover and alderman, placing him in a respectable social standing within the town. Shakespeare was an English national and wrote exclusively in English.

Childhood and education

Details of Shakespeare's childhood are scarce, but it is generally assumed he attended the Stratford grammar school, where he would have received a solid grounding in Latin and classical literature. This formal education, supplemented by his keen observation of life and his prodigious reading, laid the foundation for his literary genius. He did not pursue higher education at university.

Literary trajectory

Shakespeare began his career in London in the late 1580s or early 1590s, likely as an actor and adapter of plays before establishing himself as a playwright. His career spanned roughly two decades, during which he wrote approximately 39 plays, 154 sonnets, and several longer poems. His work evolved over time, moving from early comedies and historical plays to his great tragedies and later romances. He was a key member of the acting company the Lord Chamberlain's Men (later the King's Men) and a shareholder in the Globe Theatre.

Works, style, and literary characteristics

Shakespeare's major works encompass tragedies ('Hamlet', 'Othello', 'King Lear', 'Macbeth', 'Romeo and Juliet'), comedies ('A Midsummer Night's Dream', 'Twelfth Night', 'As You Like It'), history plays ('Richard III', 'Henry V'), and his sonnets. His dominant themes are universal and enduring: love, death, ambition, jealousy, revenge, fate, appearance versus reality, and the nature of power. He masterfully employed various forms, including blank verse (iambic pentameter) and rhyming couplets, experimenting with structure and pacing. His poetic devices are legendary, utilizing metaphor, simile, personification, and wordplay with extraordinary skill to create rich imagery and profound meaning. His tone varies dramatically, from the profound despair of tragedy to the lighthearted wit of comedy. His poetic voice is multifaceted, capable of capturing the inner lives of kings, commoners, lovers, and fools. His language is renowned for its richness, inventiveness, and rhetorical power, coining countless words and phrases that have entered common usage.

Cultural and historical context

Shakespeare lived during the Elizabethan and Jacobean eras, a period of significant cultural, political, and economic change in England. His plays reflect the political machinations of the court, the exploration of new territories, and the prevailing religious and social anxieties of the time. He was part of a vibrant London theatre scene, interacting with contemporaries like Christopher Marlowe and Ben Jonson. His work engages with Renaissance humanism, the concept of divine right of kings, and evolving ideas about psychology and human nature.

Personal life

While much of Shakespeare's personal life remains private, he married Anne Hathaway and had three children: Susanna, and twins Hamnet and Judith. The death of his son Hamnet at a young age is speculated to have influenced themes in plays like 'Hamlet'. His friendships within the theatre world were crucial to his career. He maintained strong ties to his hometown of Stratford-upon-Avon, where he eventually retired and purchased property. His religious beliefs are a subject of scholarly debate, but his works often engage with Christian morality and theology.

Recognition and reception

Shakespeare achieved considerable fame and financial success during his lifetime, though perhaps not the same level of academic reverence as he enjoys today. His plays were popular with audiences across social classes. Posthumously, his reputation grew exponentially, and he came to be recognized as the pre-eminent figure in English literature. His works are continuously performed, studied, and celebrated worldwide, solidifying his place in the global literary canon.

Influences and legacy

Shakespeare drew inspiration from classical Roman and Greek literature (Plutarch, Ovid, Seneca), medieval morality plays, and earlier English chronicles and romances. His influence on subsequent literature, theatre, and language is immeasurable. He has inspired countless playwrights, poets, novelists, and artists across centuries and cultures. His works have been translated into virtually every major language and continue to be a cornerstone of literary education and theatrical production. His inventive use of language has permanently enriched the English lexicon.

Interpretation and critical analysis

Shakespeare's plays have been subjected to endless critical interpretation, exploring themes of political power, social justice, gender roles, psychology, and existentialism. Scholars and critics continue to debate character motivations, historical accuracy, and the philosophical underpinnings of his works. His texts are constantly re-examined through new critical lenses, including feminist, post-colonial, and psychoanalytic approaches.

Curiosities and lesser-known aspects

Shakespeare's handwriting is notoriously difficult to decipher, with only a few authenticated signatures surviving. His acting career is less documented than his playwriting. The authorship question, suggesting someone else wrote the plays attributed to him, persists despite overwhelming scholarly consensus supporting Shakespeare of Stratford. His knowledge of legal matters and Italian settings in his plays has also been a subject of curiosity.

Death and memory

William Shakespeare died on April 23, 1616, in Stratford-upon-Avon. He was buried in the chancel of Holy Trinity Church. His will famously leaves his 'second-best bed' to his wife. His enduring memory is primarily preserved through the continuous performance and study of his plays and poems, the preservation of his birthplace and home, and his monumental impact on the English language and global culture.