Let me not to the marriage of true minds
Admit impediments. Love is not love
Which alters when it alteration finds,
Or bends with the remover to remove:
O no! it is an ever-fixed mark
That looks on tempests and is never shaken;
It is the star to every wandering bark,
Whose worth’s unknown, although his height be taken
Love’s not Time’s fool, though rosy lips and cheeks
Within his bending sickle’s compass come:
Love alters not with his brief hours and weeks,
But bears it out even to the edge of doom.
If this be error and upon me proved,
I never writ, nor no man ever loved.
Summary: Sonnet 116
This sonnet attempts to define love, by telling both what it is and is not. In the first quatrain, the speaker says that love—”the marriage of true minds”—is perfect and unchanging; it does not “admit impediments,” and it does not change when it find changes in the loved one. In the second quatrain, the speaker tells what love is through a metaphor: a guiding star to lost ships (“wand’ring barks”) that is not susceptible to storms (it “looks on tempests and is never shaken”). In the third quatrain, the speaker again describes what love is not: it is not susceptible to time. Though beauty fades in time as rosy lips and cheeks come within “his bending sickle’s compass,” love does not change with hours and weeks: instead, it “bears it out ev’n to the edge of doom.” In the couplet, the speaker attests to his certainty that love is as he says: if his statements can be proved to be error, he declares, he must never have written a word, and no man can ever have been in love.Read a translation of Sonnet 116 →
Along with Sonnets 18 (“Shall I compare thee to a summer’s day?”) and 130 (“My mistress’ eyes are nothing like the sun”), Sonnet 116 is one of the most famous poems in the entire sequence. The definition of love that it provides is among the most often quoted and anthologized in the poetic canon. Essentially, this sonnet presents the extreme ideal of romantic love: it never changes, it never fades, it outlasts death and admits no flaw. What is more, it insists that this ideal is the only love that can be called “true”—if love is mortal, changing, or impermanent, the speaker writes, then no man ever loved. The basic division of this poem’s argument into the various parts of the sonnet form is extremely simple: the first quatrain says what love is not (changeable), the second quatrain says what it is (a fixed guiding star unshaken by tempests), the third quatrain says more specifically what it is not (“time’s fool”—that is, subject to change in the passage of time), and the couplet announces the speaker’s certainty. What gives this poem its rhetorical and emotional power is not its complexity; rather, it is the force of its linguistic and emotional conviction.
The language of Sonnet 116 is not remarkable for its imagery or metaphoric range. In fact, its imagery, particularly in the third quatrain (time wielding a sickle that ravages beauty’s rosy lips and cheeks), is rather standard within the sonnets, and its major metaphor (love as a guiding star) is hardly startling in its originality. But the language is extraordinary in that it frames its discussion of the passion of love within a very restrained, very intensely disciplined rhetorical structure. With a masterful control of rhythm and variation of tone—the heavy balance of “Love’s not time’s fool” to open the third quatrain; the declamatory “O no” to begin the second—the speaker makes an almost legalistic argument for the eternal passion of love, and the result is that the passion seems stronger and more urgent for the restraint in the speaker’s tone.
Critical Analysis Of William Shakespeares Sonnet 116
The purpose of this essay is to critically analyse William Shakespeare's Sonnet #116. Throughout this essay I will be referring often to text of the poem William Shakespeare's "Sonnet 116" exploits conventional sonneteering (Kerrigan ,1986,1995:11) to speak of his perception and judgement of love. The sonnets structure, three quatrains and a couplet echoes the poets' content further emphasizing his notion that true love is constant. The tone of the poem expresses great amounts of final conviction, asserting the poets beliefs that he indeed knows what love is and what it is not. His ingenious use of metaphors and poetic features convey his realistic declaration that true love weathers all storms.
The first quatrain introduces the subject of the poem 'True Love'. The speaker informs the audience, true love is not how others see it or is it the establishments view. Love does not depend on time, or place, on beliefs, or the sex of the lovers. Love does not change or cease just because we notice our beloved has changed nor can it be taken away by death or severed by separation. The language used in the first two lines of the poem: Let me not to the marriage of true minds/ Admit impediments... focuses our ears on the first metaphor of this sonnet 'marriage' drawing our attention to Christian marriage services by echoing The Solemnization of Marriage from "The Book of Common Prayer" (online: 2003, 10 April: 8) "that if either of you know any impediment, why ye may not be lawfully joined together in Matrimony, ye do now confess it". The ceremony is specifically designed to marry two people for all the right reasons. In most cultures it is taboo to marry a close relative, or someone of the same sex. However, Shakespeare refers to this union of matrimony to 'the marriage of true minds' proposing a spiritual union between two souls whose bond forms a mutual appreciation and tolerance for one and other. Soul mates whose love exists deeper than the physical union of two bodies and are not affected by the obstacles, which states impose to prevent the union of marriage. Platonic love, which exists between two friends or relatives who are significant and cherished in the lives of one and other. Love is the essence of this poem. The symmetry of syntax and sound patterns within the final three lines of the quatrain: Love is not love / which alters when it alteration finds/ Or bends with the remover to remove, creates a pleasant echo of the 'o' sound enhancing the feelings of love. The use of alliteration in the opening line emphasizes that the persona would not stand in the way of true love. So what is true love? Shakespeare's use of negative words may well at the end of this quatrain place one on the defensive, however his clever use of syntax and imagery leave us...
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