Course: 221 Introduction to Literature
Instructor: Dr. Orchida Fayez
Source: Sparkelnotes.com
WILLIAM SHAKESPEARE
Sonnet 18
Shall I compare thee to a summer's day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date:
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimm'd;
And every fair from fair sometime declines,
By chance or nature's changing course untrimm'd;
But thy eternal summer shall not fade
Nor lose possession of that fair thou owest;
Nor shall Death brag thou wander'st in his shade,
When in eternal lines to time thou growest:
So long as men can breathe or eyes can see,
So long lives this, and this gives life to thee.
Summary
The speaker opens the poem with a question addressed to the beloved: "Shall I compare thee to a
summer's day?" The next eleven lines are devoted to such a comparison. In line 2, the speaker stipulates
what mainly differentiates the young man from the summer's day: he is "more lovely and more temperate."
Summer's days tend toward extremes: they are shaken by "rough winds"; in them, the sun ("the eye of
heaven") often shines "too hot," or too dim. And summer is fleeting: its date is too short, and it leads to the
withering of autumn, as "every fair from fair sometime declines." The final quatrain of the sonnet tells how
the beloved differs from the summer in that respect: his beauty will last forever ("Thy eternal summer shall
not fade...") and never die. In the couplet, the speaker explains how the beloved's beauty will accomplish
this feat, and not perish because it is preserved in the poem, which will last forever; it will live "as long as
men can breathe or eyes can see."
Comment
This sonnet is certainly the most famous in the sequence of Shakespeare's sonnets; it may be the most
famous lyric poem in English. Among Shakespeare's works, only lines such as "To be or not to be" and
"Romeo, Romeo, wherefore art thou Romeo?" are better-known. This is not to say that it is at all the best or
most interesting or most beautiful of the sonnets; but the simplicity and loveliness of its praise of the beloved
has guaranteed its place.
On the surface, the poem is simply a statement of praise about the beauty of the beloved; summer tends to
unpleasant extremes of windiness and heat, but the beloved is always mild and temperate. Summer is
incidentally personified as the "eye of heaven" with its "gold complexion"; the imagery throughout is simple
and unaffected, with the "darling buds of May" giving way to the "eternal summer", which the speaker
promises the beloved. The language, too, is comparatively unadorned for the sonnets; it is not heavy with
Course: 221 Introduction to Literature
Instructor: Dr. Orchida Fayez
Source: Sparkelnotes.com
alliteration or assonance, and nearly every line is its own self-contained clause--almost every line ends with
some punctuation, which effects a pause.
1. This is taken usually to mean 'What if I were
1. Shall I compare thee to a summer's to compare thee etc?' The stock comparisons of
day?
the loved one to all the beauteous things in nature
hover in the background throughout. One also
remembers Wordsworth's lines:
We'll talk of sunshine and of song,
And summer days when we were young,
Sweet childish days which were as long
As twenty days are now.
Such reminiscences are indeed anachronistic, but
with the recurrence of words such as 'summer',
'days', 'song', 'sweet', it is not difficult to see the
permeating influence of the Sonnets on
Wordsworth's verse.
2. The youth's beauty is more perfect than the
2. Thou art more lovely and more
beauty of a summer day. more temperate - more
temperate:
gentle, more restrained, whereas the summer's
day might have violent excesses in store, such as
are about to be described.
3. May was a summer month in Shakespeare's
3. Rough winds do shake the darling
time, because the calendar in use lagged behind
buds of May,
the true sidereal calendar by at least a fortnight.
darling buds of May - the beautiful, much loved
buds of the early summer; favourite flowers.
4. Legal terminology. The summer holds a lease
4. And summer's lease hath all too
on part of the year, but the lease is too short, and
short a date:
has an early termination (date).
5. Sometime too hot the eye of heaven 5. Sometime = on occasion, sometimes;
shines,
the eye of heaven = the sun.
6. his gold complexion = his (the sun's) golden
6. And often is his gold complexion
face. It would be dimmed by clouds and on
dimmed,
overcast days generally.
7. All beautiful things (every fair) occasionally
7. And every fair from fair sometime
become inferior in comparison with their
declines,
essential previous state of beauty (from fair).
They all decline from perfection.
8. By chance accidents, or by the fluctuating
tides of nature, which are not subject to control,
8. By chance, or nature's changing
nature's changing course untrimmed.
course untrimmed:
untrimmed - this can refer to the ballast
(trimming) on a ship which keeps it stable; or to
a lack of ornament and decoration. The greater
Course: 221 Introduction to Literature
Instructor: Dr. Orchida Fayez
Source: Sparkelnotes.com
difficulty however is to decide which noun this
adjectival participle should modify. Does it refer
to nature, or chance, or every fair in the line
above, or to the effect of nature's changing
course? KDJ adds a comma after course, which
probably has the effect of directing the word
towards all possible antecedents. She points out
that nature's changing course could refer to
women's monthly courses, or menstruation, in
which case every fair in the previous line would
refer to every fair woman, with the implication
that the youth is free of this cyclical curse, and is
therefore more perfect.
9. Referring forwards to the eternity promised
9. But thy eternal summer shall not
by the ever living poet in the next few lines,
fade,
through his verse.
10. Nor shall it (your eternal summer) lose its
hold on that beauty which you so richly possess.
10. Nor lose possession of that fair
ow'st = ownest, possess.
thou ow'st,
By metonymy we understand 'nor shall you lose
any of your beauty'.
11. Several half echoes here. The biblical ones
are probably 'Oh death where is thy sting? Or
11. Nor shall death brag thou
grave thy victory?' implying that death normally
wander'st in his shade,
boasts of his conquests over life. And Psalms
23.3.: 'Yea though I walk through the valley of
the shadow of death I will fear no evil ' In
classical literature the shades flitted helplessly in
the underworld like gibbering ghosts.
Shakespeare would have been familiar with this
through Virgil's account of Aeneas' descent into
the underworld in Aeneid Bk. VI.
12. in eternal lines = in the undying lines of my
12. When in eternal lines to time thou verse. Perhaps with a reference to progeny, and
grow'st,
lines of descent, but it seems that the procreation
theme has already been abandoned.
to time thou grow'st - you keep pace with time,
you grow as time grows.
13. For as long as humans live and breathe upon
13. So long as men can breathe, or
the earth, for as long as there are seeing eyes on
eyes can see,
the eart.
14. So long lives this, and this gives
14. That is how long these verses will live,
life to thee.
celebrating you, and continually renewing your
life. But one is left with a slight residual feeling
that perhaps the youth's beauty will last no longer
Course: 221 Introduction to Literature
Instructor: Dr. Orchida Fayez
Source: Sparkelnotes.com
than a summer's day, despite the poet's proud
boast.
One of the best known of Shakespeare’s sonnets, Sonnet 18 is memorable for the skillful and
varied presentation of subject matter, in which the poet’s feelings reach a level of rapture unseen
in the previous sonnets. The poet here abandons his quest for the youth to have a child, and
instead glories in the youth’s beauty.
Initially, the poet poses a question—”Shall I compare thee to a summer’s day?”—and then
reflects on it, remarking that the youth’s beauty far surpasses summer’s delights. The imagery is
the very essence of simplicity: “wind” and “buds.” In the fourth line, legal terminology—
”summer’s lease”—is introduced in contrast to the commonplace images in the first three lines.
Note also the poet’s use of extremes in the phrases “more lovely,” “all too short,” and “too hot”;
these phrases emphasize the young man’s beauty.
Although lines 9 through 12 are marked by a more expansive tone and deeper feeling, the poet
returns to the simplicity of the opening images. As one expects in Shakespeare’s sonnets, the
proposition that the poet sets up in the first eight lines—that all nature is subject to
imperfection—is now contrasted in these next four lines beginning with “But.” Although beauty
naturally declines at some point—”And every fair from fair sometime declines”—the youth’s
beauty will not; his unchanging appearance is atypical of nature’s steady progression. Even death
is impotent against the youth’s beauty. Note the ambiguity in the phrase “eternal lines”: Are these
“lines” the poet’s verses or the youth’s hoped-for children? Or are they simply wrinkles meant to
represent the process of aging? Whatever the answer, the poet is jubilant in this sonnet because
nothing threatens the young man’s beautiful appearance.
Then follows the concluding couplet: “So long as men can breathe, or eyes can see, / So long
lives this, and this gives life to thee.” The poet is describing not what the youth is but what he will
be ages hence, as captured in the poet’s eternal verse—or again, in a hoped-for child. Whatever
one may feel about the sentiment expressed in the sonnet and especially in these last two lines,
one cannot help but notice an abrupt change in the poet’s own estimate of his poetic writing.
Following the poet’s disparaging reference to his “pupil pen” and “barren rhyme” in Sonnet 16, it
comes as a surprise in Sonnet 18 to find him boasting that his poetry will be eternal.