“ Shall I compare thee to a summer’s day?”

Introduction to Shakespeare's Sonnets

The Sonnets are Shakespeare's most popular works, and a few of them, such as Sonnet 18 (Shall I compare thee to a summer's day), Sonnet 116 (Let me not to the marriage of true minds), and Sonnet 73 (That time of year thou mayst in me behold), have become the most widely-read poems in all of English literature. 

Composition Date of the Sonnets

Shakespeare wrote 154 sonnets, likely composed over an extended period from 1592 to 1598, the year in which Francis Meres referred to Shakespeare's "sugred sonnets":

The witty soul of Ovid lives in mellifluous & honey-tongued Shakespeare, witness his Venus and Adonis, his Lucrece, his sugared sonnets among his private friends, &c. (Palladis Tamia: Wit's Treasury) 

In 1609 Thomas Thorpe published Shakespeare's sonnets, no doubt without the author's permission, in quarto format, along with Shakespeare's long poem, The Passionate Pilgrim. The sonnets were dedicated to a W. H., whose identity remains a mystery, although William Herbert, the Earl of Pembroke, is frequently suggested because Shakespeare's First Folio (1623) was also dedicated to him.

Narrative of the Sonnets

The majority of the sonnets (1-126) are addressed to a young man, with whom the poet has an intense romantic relationship. The poet spends the first seventeen sonnets trying to convince the young man to marry and have children; beautiful children that will look just like their father, ensuring his immortality. Many of the remaining sonnets in the young man sequence focus on the power of poetry and pure

love to defeat death and "all oblivious enmity" (55.9).

The final sonnets (127-154) are addressed to a promiscuous and scheming woman known to modern readers as the dark lady. Both the poet and his young man have become obsessed with the raven-haired temptress in these sonnets, and the poet's whole being is at odds with his insatiable "sickly appetite" (147.4). The tone is distressing, with language of sensual feasting, uncontrollable urges, and sinful consumption.

• For a closer look at the negative aspects of the poet's relationship with the young man and his mistress, please see Sonnet 75 and Sonnet 147.
• For a celebration of the love between the young man and the poet, see Sonnet 18 and Sonnet 29.
• For the poet's views on the mortality of the young man, see Sonnet 73.
• For the poet’s description of his mistress, see Sonnet 130.

The question remains whether the poet is expressing Shakespeare's personal feelings. Since we know next to nothing about Shakespeare's personal life, we have little reason or right not to read the collected sonnets as a work of fiction, just as we would read his plays or long poems.

Shakespearean Sonnet Basics: Iambic Pentameter and the English Sonnet Style

Shakespeare's sonnets are written predominantly in a meter called iambic pentameter, a rhyme scheme in which each sonnet line consists of ten syllables. The syllables are divided into five pairs called iambs or iambic feet. An iamb is a metrical unit made up of one unstressed syllable followed by one stressed syllable. An example of an iamb would be good BYE. A line of iambic pentameter flows like this:

baBOOM / baBOOM / baBOOM / baBOOM / baBOOM.

Here are some examples from the sonnets:

When I / do COUNT / the CLOCK / that TELLS / the TIME (Sonnet 12)

When IN / dis GRACE / with FOR / tune AND / men’s EYES
I ALL / a LONE / be WEEP / my OUT/ cast STATE (Sonnet 29)

Shall I / com PARE/ thee TO / a SUM / mer's DAY?
Thou ART / more LOVE / ly AND / more TEM / per ATE (Sonnet 18)

Shakespeare's plays are also written primarily in iambic pentameter, but the lines are unrhymed and not grouped into stanzas. Unrhymed iambic pentameter is called blank verse. It should be noted that there are also many prose passages in Shakespeare’s plays and some lines of trochaic tetrameter, such as the Witches' speeches in Macbeth.

Sonnet Structure

There are fourteen lines in a Shakespearean sonnet. The first twelve lines are divided into three quatrains with four lines each. In the three quatrains the poet establishes a theme or problem and then resolves it in the final two lines, called the couplet. The rhyme scheme of the quatrains is abab cdcd efef. The couplet has the rhyme scheme gg. This sonnet structure is commonly called the English sonnet or the Shakespearean sonnet, to distinguish it from the Italian Petrarchan sonnet form which has two parts: a rhyming octave (abbaabba) and a rhyming sestet (cdcdcd). The Petrarchan sonnet style was extremely popular with Elizabethan sonneteers, much to Shakespeare's disdain (he mocks the conventional and excessive Petrarchan style in Sonnet 130).

Only three of Shakespeare's 154 sonnets do not conform to this structure: Sonnet 99, which has 15 lines; Sonnet 126, which has 12 lines; and Sonnet 145, which is written in iambic tetrameter.

SONNET 18

PARAPHRASE

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 ow'st; Nor shall Death brag thou wander'st in his shade, When in eternal lines to time thou grow'st; So long as men can breathe or eyes can see, So long lives this and this gives life to thee.

Shall I compare you to a summer's day? You are more lovely and more constant: Rough winds shake the beloved buds of May And summer is far too short: At times the sun is too hot, Or often goes behind the clouds; And everything beautiful sometime will lose its beauty, By misfortune or by nature's planned out course. But your youth shall not fade, Nor will you lose the beauty that you possess; Nor will death claim you for his own, Because in my eternal verse you will live forever So long as there are people on this earth, So long will this poem live on, making you immortal.

  

Notes

temperate (1): i.e., evenly-tempered; not overcome by passion.

the eye of heaven (5): i.e., the sun.

every fair from fair sometime declines (7): i.e., the beauty (fair) of everything beautiful (fair) will fade (declines). Compare to Sonnet 116: "rosy lips and cheeks/Within his bending sickle's compass come."

nature's changing course (8): i.e., the natural changes age brings.

that fair thou ow'st (10): i.e., that beauty you possess.

in eternal lines...growest (12): The poet is using a grafting metaphor in this line. Grafting is a technique used to join parts from two plants with cords so that they grow as one. Thus the beloved becomes immortal, grafted to time with the poet's cords (his "eternal lines"). For commentary on whether this sonnet is really "one long exercise in self-glorification", please see below.

Critical Summary

Sonnet 18 is the best known and most well-loved of all 154 sonnets. It is also one of the most straightforward in language and intent. The stability of love and its power to immortalize the subject of the poet's verse is the theme.

The poet starts the praise of his dear friend without ostentation, but he slowly builds the image of his friend into that of a perfect being. His friend is first compared to summer in the octave, but, at the start of the third quatrain (9), he is summer, and thus, he has metamorphosed into the standard by which true beauty can and should be judged. The poet's only answer to such profound joy and beauty is to ensure that his friend be forever in human memory, saved from the oblivion that accompanies death. He achieves this through his verse, believing that, as history writes itself, his friend will become one with time. The final couplet reaffirms the poet's hope that as long as there is breath in mankind, his poetry too will live on, and ensure the immortality of his muse.

Interestingly, not everyone is willing to accept the role of Sonnet 18 as the ultimate English love poem. As James Boyd-White puts it:

What kind of love does 'this' in fact give to 'thee'? We know nothing of the beloved’s form or height or hair or eyes or bearing, nothing of her character or mind, nothing of her at all, really. This 'love poem' is actually written not in praise of the beloved, as it seems, but in praise of itself. Death shall not brag, says the poet; the poet shall brag. This famous sonnet is on this view one long exercise in self-glorification, not a love poem at all; surely not suitable for earnest recitation at a wedding or anniversary party, or in a Valentine. (142)

Note that James Boyd-White refers to the beloved as "her", but it is almost universally accepted by scholars that the poet's love interest is

a young man in sonnets 1-126.

Sonnets 18-25 are often discussed as a group, as they all focus on the poet's affection for his friend.