Here’s one of the best-known of Shakespeare’s sonnets, which means it’s clearly one of “Poetry’s Greatest Hits.”
Since I’m not a real scholar or expert in such things, let’s take a look at it as if it was another of our presentations of lesser-known poems by little-known poets. You may want to follow along with the text, which can be found here. What might we see if we encounter it this way, without preconceptions?
The first thing one might notice is the antique language. In this case it’s not so much a case of “need to look that one up” words so much as it’s the olden-days tenses, pronouns and word forms: “mayst, ”thou,” “see’st,” “fadeth,” “doth,” “perceiv’st,” and “ere.” Given that the sonnet is a compressed form (this one uses 121 words) that might put one off. The syntax too, is not modern-day natural speech, but then when undertaking a sonnet even modern-day poets will sacrifice some of that for sound and compression of expression reasons.
If one is able to overlook those two things, or simply accept them as artifacts of the form and the time it was written, the next thing I notice is how much is stuffed into those 121 words. Tonight I’ll go to a meeting with three other poets, two of which are more accomplished than I am, with several published collections under their names. If I was to present to this group a poem with as many ideas and loosely linked tropes as Sonnet 73 (albeit with whatever level of skill I otherwise possess) they would likely be puzzled and displeased with it. Modern poetry is full of a great many styles, but many of them don’t try to push so much into so short a poem.
Let’s briefly look at those thoughts and the images by which we are to experience them. The first two lines open with a common autumn poem touchstone: the turning, falling, and fallen leaves. There are approximately 127 billion English language poems using autumn leaves by now, though there might have been only a few dozen in Shakespeare’s time. I think his image here is dual though, the left-leaves are compared to a balding head.
He’s not balding, he just has a large forehead. This disputed portrait has not been used to argue that Shakespeare was actually written by Larry Fine or translated from Klingon.
This image is further developed or morphed in the next two lines, including the image by which I always remember this poem: the now bare or near-bare branches bereft of the migratory and mate seeking/singing birds of earlier in the year liked to a ruined choir loft. Since choir lofts are elevated, and we’ve started with leaves equaling the now spare hair on a head, they are also the mind and voice which engenders such poetry and song.
Starting in the 20th Century some Shakespeare scholarship relates that ruined choirs image to the destruction and abandonment of Catholic abbeys and churches during his century. If so, Shakespeare has brought an undercurrent of the dangerous social change of his century into his short poem.*
Shakespeare doesn’t linger on that image, though it is so sharp it may have made his point. He next moves on to another image we now find common, the ending of a day related to the later parts of one’s life. His take is the variation (also used in some autumn poems) that there is extra beauty in the endingness, by implication it’s preciousness of limits, and from the luminous colors of sunset. He develops this a bit with an image that would have once seemed common, but has since fallen into disuse: that sleep is a model of death.
The final quatrain before the concluding couplet develops yet another image, one steeped in fire as one of the classical four elements. It’s antique physics, but observationally still rich for anyone that has ever dealt with burning wood: the speaker is the hot coals, hotter than the kindling fire of youth, or the early lapping flames. Since this is ostensibly a love poem, one can take this as another commonplace: fire equaling desire. My reading is that the love poem aspect is yet another layer of image, present, but not the only element, as it’s also about the artistic spirit that could create such a sonnet. The final line in the final quatrain is nearly the equal of the “bare ruined choirs” one. “Consumed by that which it was nourished by” is both a statement about the scientific nature of combustion; about desire, love, and it’s ending; and about the artistic impulse: that we must burn, fill and empty ourselves as if by weightless flame; that we will consume our time, our life-time.
The final couplet, as with many an English “Shakespearean” sonnet, jumps on to something else. In its guise as a love poem, it says that the lover must be extra passionate and devoted, because the poem’s speaker has limited time left and yet they still love them. What should we make of that? As a devotional interpersonal love-note, the thing the poem presents itself to be, it has emotional heft.** As a statement about the artistic drive, likewise. Every time one sets out to make something, we truly don’t know if it’s the last work we will do. As we age (I’m old, this is eminently personal with me) this becomes less and less a moot philosophical point. Treat the work as a lover, treat your lover as a work of art.
So, there’s a lot of territory in this poem. Even doing my best to present it with my performance there’s too much here to absorb in one listening, one reading, in one moment in one’s life. This is a reason why other kinds of poems may be better received. Many modern short poems seek to make one point, or tell a story with a plot rather than a complex instant that has no plot yet, or several plots happening at once. Those poems can work too, and work quickly.
Shakespeare seeks to lure us with his word-music, even now centuries later, even though he’s going to try to put a gallon of thought into a pint-sized poem, and even if he’s going to use a form of English we strain to hear as natural. “Bare ruined choirs where late the sweet birds sang” isn’t just an image, and an allusion to a piece of history that may be unfamiliar to us, it’s a lovely piece of sound. I could go on with other lines that have their compelling worth as sound: “When yellow leaves, or none, or few, do hang” or “Death’s second self, that seals up all in rest.” Can that word-music let us live with the 121 words long enough to get over the things which make us either hear this as “Shakespeare” the brand name or as an example of obsolescence?
I tried in my performance to illuminate the text and its sound as best I could. You can hear it with the player below. See no player? This alternate highlighted link will play it too.
*I’ve always loved the way Michael Wood presented the beginning of his series of TV programs on Shakespeare by saying he was born into what was a police state due to the whipsawing religious and geopolitical changes/wars/disputes England went through in the 16th century.
**By pointing out that this poem in my mind is expressing something about the experience of making art, I’m not prudishly seeking to eliminate the erotic reading. Many of the best images are bilateral. They aren’t just some thrown-off thing meant to decorate the poem with some cleverness or allusion. The thing used to represent the thing is real, maybe even more real than the thing it signifies. The thing signified enriches the image just as vice versa.
For an example of the erotic use of some similar imagery in a complex emotional landscape see this Edna St. Vincent Millay sonnet, a favorite of listeners here.
One piece of evidence that Shakespeare intends this as a complex set of images is that it was likely written when Shakespeare was in his 30s. Sure it reads “true” for this old man, but it’s not memoir as poetry. Memoir as poetry can work too, but I often feel that we’ve over-emphasized that mode.