Sonnet 29

« » Sonnet 29
When in disgrace with Fortune and men's eyes, I all alone beweep my outcast state, And trouble deaf heaven with my bootless cries, And look upon myself and curse my fate, Wishing me like to one more rich in hope, Featured like him, like him with friends possess'd, Desiring this man's art, and that man's scope, With what I most enjoy contented least. Yet in these thoughts myself almost despising, Haply I think on thee, and then my state, Like to the lark at break of day arising From sullen earth, sings hymns at heaven's gate; For thy sweet love remember'd such wealth brings That then I scorn to change my state with kings.
–William Shakespeare

Sonnet 29 is one of 154 sonnets written by the English playwright and poet William Shakespeare. This is one of his more ambiguous sonnets: one does not know who the speaker is referring to or if the word "love" in this sonnet refers to a romantic love or a platonic love.

Structure of Sonnet 29

Sonnet 29 follows the same basic structure as Shakespeare's other sonnets. The sonnet contains fourteen lines and is written in iambic pentameter, meaning that each of the fourteen lines contains ten syllables that alternate between unstressed and stressed. It is composed of three rhyming quatrains with a rhyming couplet at the end. However, it does not follow the traditional English rhyme scheme of ABAB CDCD EFEF GG. Rather, the scheme is ABAB CDCD EBEB FF. As noted by Bernhard Frank, Sonnet 29 includes two distinct sections with the Speaker explaining his current depressed state of mind in the first octave and then conjuring what appears to be a happier image in the last sestet

In his literary criticism of Stephen Booth’s analysis of the work, Murdo William McRae explains two characteristics of the internal structure of Sonnet 29 that Booth failed to mention that make the work distinctly unique from any of Shakespeare’s other sonnets . The first unique characteristic is the lack of a “when/then” pattern. Traditionally, the first eight lines of a sonnet produce a problem (a “when” statement”) that is then resolved in the last six lines (a “then” statement). McRae points out, however, that the Speaker in this sonnet fails to produce a solution possibly because his overwhelming lack of self-worth prevents him from ever being able to state an actual argument, and instead uses his conclusion to contrast the negative feelings stated in the previous octave. McRae notes that this break from the traditional style of sonnet writing creates a feeling of the sonnet being “pulled apart.” The second unique characteristic is the repetition of the B-rhyme in lines 2 and 4 (“state” and “fate”) as well as 10 and 12 (“state” and “gate”). McRae says that the duplication of the B-rhyme redirects the reader’s attention to the lines, and this “poem within a poem” pulls the piece back together in a way that contrasts its original pulling apart.

However, Shakespeare did not only create a pattern of line rhymes. As Frank explains in his article Shakespeare repeats the word “state” three times throughout the poem with each being a reference to something different. The first “state” referring the Speaker’s condition (line 2), the second to his mindset (line 10), and the third to “state” of a monarch or kingdom (line 14).

This whole issue of the duplicated B-rhyme is addressed in other sources as well. Philip McGuire states in his article that some refer to this as a "serious technical blemish", while others maintain that "the double use of 'state' as a rhyme may be justified, in order to bring out the stark contrast between the Speaker's apparently outcast state and the state of joy described in the third quatrain" . The biggest question seems to surround whether this rhyme decision significantly deviates from the Shakespearean sonnet format or if it was simply the poet's choice.

In his book The Fickle Glass: A Study of Shakespeare's Sonnets, Paul Ramsey points out the line three specifically as "one of the most perturbed lines in our language" . He specifically points out stressed syllables, "troub-," "deaf," and "heav'n", saying they are "jarringly close together" and that "the 'heav'n with' is probably the most violent example in the sonnets of a trochee without a preceding verse-pause... The heaping of stress, the harsh reversal, the rush to a vivid stress - all enforce the angry anti-religious troubled cry." Ramsey breaks down this line very specifically and implies that Shakespeare was incredibly meticulous and deliberate when writing each line to convey his tone and sentiment.

Camille Paglia states that there is nothing in the poem that would provide a clue as to whether the poem is directed towards a man or a woman, but assumes, as many do, that Sonnet 29 was written about the young man. Both Paglia and Frank agree that the first octave is about the Speaker’s current depression caused by his social ostracism in his outcast state” (line 2) and personal misfortune that has “curse[d] my fate” (line 4). The Speaker proclaims his jealousy of those that are “rich in hope” (line 5) and “with friends possess'd” (line 6), once again referring to his hopelessness and low social status. Paglia refers to this section of the poem as a “list of half-imaginary grievances.” Frank seems to agree with her statement of “half imaginary” since he believes the Speaker wills his own misery.

As the poem moves from the octave to the sestet, Frank makes note of the Speaker’s “radical movement from despair to alert.” This sudden emotional jump (along with the pattern of the “state”) displays the Speaker’s “wild mood swings.” Frank believes that the last sestet, however, is not as “happy” as some may believe. U line 10 as his example, Frank points out that the Speaker says he simply “thinks” of his beloved while he is alone which leads one to wonder if the said “sweet love” (line 13) even knows the Speaker exists.

Paglia, however, takes several different views on the poem. For example, she does not actually come out and accuse the Speaker of causing his own suffering. Referencing line 1, she notes that Fortune (personified) has actually abandoned the poor Speaker. This abandonment is the cause of the Speaker’s desire for “this man's art, and that man's scope” (line 7) and has caused the Speaker to only be “contented” (line 8) which hints at the Speaker’s (and possibly Shakespeare’s) lack of artistic inspiration. The final few lines, however, are where Paglia differs the most from Frank. Paglia feels that the love” of the Speaker’s has been restored and that he has received a “spiritual wealth.” The once jealous and desperate Speaker has now found solace in love knowing that love “dims all material things Elizabeth Harris Sagaser sets Sonnet 29 apart from other Elizabethan sonnets in that the speaker is the main focus, as opposed to many love sonnets of the time focused entirely on the object of the speaker's affection, or so of the poet's desire; this would seem that the poem is about the woman, not the speaker. However, Sasager says, "I do not mean to imply that... (these poems) are themselves 'about' particular beloveds. But they do pretend to be, and therein is the difference. She goes on to clarify this difference, or what sets sonnet 29 apart from most love object-centered sonnets of the time. "The poet-lover in sonnet 29 admits up front that the fruits of his inward experience are primarily his own, though not his own in terms of everafter fame... Instead, the speaker of 29 is concerned first to wonder" This is to say that though most poetry of the time was at least disguised to be about the object of the speaker's affection, this sonnet does not even attempt to do so. According to Sasager, it is clear that this poem is speaker-focused and about the emotions and experiences of the speaker, not that of the beloved's. As discussed by other critics, Sasager addresses the lack of "when... then" structure saying "the poem shifts to representing a particular moment: not a past moment, but now." She makes a point to say this differs notably from other poems of the time.

Religious nature of Sonnet 29

Paglia and Frank have similar views on the religious references made throughout the poem. The Speaker first states that heaven is deaf to his “bootless [useless] cries” (line 2). The “lark at break of day arising” (line 11) symbolizes the Speaker’s rebirth to a life where he can now sing “hymns at heaven's gate” (line 12). This creates another contrast in the poem. The once deaf heaven that caused the Speaker’s prayers to be unanswered is now suddenly able to hear. Both authors note the lack of any reference to God and how the Speaker instead speaks only of heaven.

Expanding on that notion, Paul Ramsey, in The Fickle Glass: A Study of Shakespeare's Sonnets, claims, "Sonnet 29 says that God disappoints and that the young man redeems". This is to say that the poem is not religious in the institutional way, but rather it is its own kind of religion. Ramsey continues, "Against that heaven, against God, is set the happy heaven where the lark sings hymns. The poem is a hymn, celebrating a truth declared superior to religion." So while Sonnet 29 makes some religious references, Ramsey maintains that these are in fact anti-religious in sentiment.

Synopsis

In Sonnet 29 the speaker describes moments of great sadness, in which he cries over his "outcast state" by himself. This "outcast state" may refer to either a generally unfavorable standing in society or a lack of financial success in the playwriting field. One possible explanation for this lack of success is the closing of London theatres in 1592 due to a plague epidemic. Another suggested reason for Shakespeare's "outcast state" is an instance of harsh public criticism of Shakespeare by fellow playwright Robert Greene. The attack may have had a deep impact on Shakespeare. The speaker then says that in these times he "trouble[s] deaf heaven with his bootless cries", meaning he feels his prayers and exhortations are to no avail. The word "trouble" has particular interest because it suggests that he believes his prayers bother heaven, which shows a general exhaustion of hope and faith on the part of the speaker. The speaker then reveals that he is least satisfied in the things he enjoys most.

Wishing me like to one more rich in hope,

Featured like him, like him with friends possess'd,

Desiring this man's art and that man's scope,

With what I most enjoy contented least;

The "turn" at the beginning of the third quatrain occurs when the poet by chance ("haply") happens to think upon the young man to whom the poem is addressed, which makes him assume a more optimistic view of his own life. The speaker likens such a change in mood "to the lark at break of day arising, From sullen earth, sings hymns at heaven's gate". This expression was most probably the inspiration for American poet Wallace Stevens when he wrote the poem The Worms at Heaven's Gate in Harmonium. The couplet is an emotional declaration that remembrance of his friend's love is enough for him to value his position in life more than a king's. The repeated use of "state" is notable in line 2 and 10 to mean the Poets general condition, in line 14, with double meaning, it can be read to mean a country.

In popular culture

• in episode 3 ("Siege") from season 1 of Beauty and the Beast, Vincent (portrayed by Ron Perlman) reads this sonnet to Catherine (played by Linda Hamilton)
• Edward Lewis, portrayed by Richard Gere, reads this sonnet to Vivian Ward, played by Julia Roberts, during their scene at the park in Pretty Woman
• In season 2 ("The Measure of a Man") of Star Trek: The Next Generation, Comm. Bruce Maddox reads the first two lines of the sonnet out of Lt. Comm. Data's Shakespeare book
• T.S. Eliot quotes this sonnet in his 1930 poem "Ash Wednesday": 'Because I do not hope/ Because I do not hope to turn/ Desiring this man's gift and that man's scope/ I no longer strive to strive towards such things/ (Why should the agèd eagle stretch its wings?)'
• Featured in the 2002 film Conviction where Omar Epps, portraying an imprisoned Carl Upchurch, reads the first half of the Sonnet aloud to other prisoners from his cell.

References

• Alden, Raymond (1916). The Sonnets of Shakespeare, with Variorum Reading and Commentary. Houghton-Mifflin, Boston.
• Baldwin, T. W. (1950). On the Literary Genetics of Shakspeare's Sonnets. University of Illinois Press, Urbana.
• Booth, Stephen (1977). Shakespeare's Sonnets. Yale University Press, New Haven.
• Dowden, Edward (1881). Shakespeare's Sonnets. London.
• Evans, G. Blakemore, Anthony Hecht, (1996). Shakespeare's Sonnets. Cambridge University Press, Cambridge.
• Hubler, Edwin (1952). The Sense of Shakespeare's Sonnets. Princeton University Press, Princeton.
• Kerrigan, John (1987). Shakespeare's Sonnets. Penguin, New York.
• Schoenfeldt, Michael (2007). The Sonnets: The Cambridge Companion to Shakespeare’s Poetry. Patrick Cheney, Cambridge University Press, Cambridge.
• Tyler, Thomas (1989). Shakespeare’s Sonnets. London D. Nutt.
• Vendler, Helen (1997). The Art of Shakespeare's Sonnets. Cambridge: Harvard University Press.

External links

• Paraphrase and analysis (Shakespeare-online)
• CliffsNotes on the sonnet
• Passion in Pieces The series of sonnet films by Sam Small.