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speaker is letting the past overwhelm his thoughts, he therefore cannot think positively about the future due to past habits or tendencies. Unlike some of the other sonnets addressed to the young man, sonnet 64 moves toward a feeling of the lover's exposure to the risk of being destroyed. Barret also argues that the phonetic play between ruminate and ruinate is as she says an "underscore a relationship inherent in the poem’s logic", "Each quatrain of the sonnet open with the same construction — "When I have seen" — yet these statements are never met with a summational "then", so the temporal ambiguity the phrase creates the remains unresolved: Does the speaker gesture toward repeated past actions ('in the instances that I have seen') or forward to a causational limit point ('once I have seen')?". When we read the lines that pertain to the waves and the shore, "at times the waves are winning against the shore, and then at times the shore is winning against the waves", the speaker almost speaks in a tone of confidence and determination to not let time control his life. Although when he goes to say Time will take my love away we begin to get a sense of uncertainty within the speaker. This uncertainty within the speaker is described by Barret when she argues "The sonnet registers temporal matters in personal terms; the couplet never corrects the poem's grammatically obscured engagement with time, but instead introduces a paralyzing temporal collapse: the present moment becomes overwhelmed by an anticipation of future loss—an extreme version of 'I miss you already.'.... The ruin/ruminate pairing bespeaks a suspicion of an imagined time spent looking back".
268:, Vendler describes Sonnet 64 to be written in a state of horror and "unprotected vulnerability". The speaker's horror is manifested in the line, Increasing store with loss, and loss with store. Vendler argues that in this line "Loss wins in both cases. It is of course impossible to increase abundance with loss, and equally impossible to increase loss by adding abundance to it." Atkins is also in agreement that sonnet 64 especially in line 12, the speaker expresses a state of fear: That Time will come and take my love away. In "Shakespeare's Sonnets" Atkins argues the meaning of this line is clear that "after seeing all these other ruins, I think about your eventual ruin". Vendler calls line 12 a "collapse into monosyllabic truth", "and its dismayed adolescent simplicity of rhythm, this line feels like a death." Booth claims that in line 13 is unclear: "death, the nearest potential antecedent, cannot choose, but it cannot weep or fear either; thought makes better sense, but it is the thinker who does the weeping and fearing." Vendler argues that in the last three lines of the sonnet a "'natural' pattern of unreversed ruin 'defeats' the intellectual mastery-by-chiasmus, as the concept of gradual leakage comes to represent personal loss. Time takes love away, a thought is like a death, one weeps to have what one fears to lose.... Having while fearing to lose is already a form of losing." Overall, both Booth and Vendler agree in the last three lines of the sonnet the speaker weeps at the fear of losing his love, ultimately realizing that he cannot escape time and time will come and take his love away.
286:
first twelve lines a long defense – by thinking about the end of inanimate things – against thinking about the death of a living person". As James
Grimshaw analyzes the final two lines, Shakespeare substitutes the word which for death in the couplet, adding more emphasis on the sonnet's theme of death as an overpowering force. The love he is losing could have one of two meanings: it could either be the true death of his beloved, or in fact simply the love he has for his beloved. Vendler interprets this death as the death of his beloved, in which the couplet justly displays this as Shakespeare's genuine concern, thus distinctly separating itself from the previous twelve lines. Shakespeare's dread of time and age taking away his praised beloved seems to alarm him above all of the other entities he observes throughout his Sonnet 64, though he despairs in the idea that losing him is beyond his control.
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consolation for death and places "emphasis on the inescapable fact of mutability". Because of the inevitability and finality of death, Shakespeare's lover is not choosing to leave him. On the contrary, his lover could not do anything about it. In this way, Shakespeare is able to feel better about himself, because the love of his life was taken from him involuntarily. However, Sonnet 64 does not specify whether
Shakespeare is more upset over the loss of life or the loss of love.
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63–68. He argues that these sonnets should be grouped together because they are the only ones to refer to the subject of the poem in the third person rather than second person. Sonnet 64 is very similar to
Shakespeare's Sonnet 60 where both sonnets focus on a central idolizing of "time as the destroyer". In Helen Vendler's,
41:
259:
The critic T. W. Baldwin explains that Sonnet 64 deals with
Shakespeare's struggle against time, which he "cannot withstand". He also presents the idea of the revolution of sea and land, although not many other critics agree. Sonnet 64 catalogues instances of inevitable destruction so as to provide a
285:
William
Shakespeare's Sonnet 64 scrutinizes the idea of losing his loved one to Time, and views Time as an agent of Death. Shakespeare's reference to 'outworn buried age' demonstrates the idea of his loved one being consumed or worn out by time and age. According to Helen Vendler, it seems that "the
294:
Sonnet 64 is a great example of why people always say "You should never let your past interfere with your present". Barret argues that sonnet 64 "provides an example of past-oriented natural habitats that might interfere with the productive considerations of the future". In other words, because the
185:
The opening quatrain begins with the personification of time, a destroyer of great things built by man, a force man cannot equal. The second quatrain portrays a victorless struggle between the sea and the land. In the last quatrain the speaker applies these lessons to his own situation, realizing
263:
Most critics place Sonnet 64 in a chronological sequence or group with
Sonnets 62–74. Both T. W. Baldwin and Emily Stockard agree that these sonnets are similar in subject and tone. However, another critic, Brents Stirling, disagrees. He places Sonnet 64 in a sonnet group containing only Sonnets
245:), and a mid-line reversal. This creates a somewhat unusual case in which three stressed syllables in a row function as three ictuses, rather than one of them being demoted (as typically happens) to a nonictus.
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that death is inevitable and time will come and take his love away. The concluding couplet, in contrast to
Shakespeare's typical practice, provides no solution, no clever twist; only inevitable tears.
400:(Atkins CD, editor. Shakespeare's Sonnets With Three Hundred Years of Commentary. Cranbury (NJ): Rosemont Publishing & Printing Corp.; 2007. pp. 175-177.)
423:(Atkins CD, editor. Shakespeare's Sonnets With Three Hundred Years of Commentary. Cranbury (NJ): Rosemont Publishing & Printing Corp.; 2007. P 175-177.)
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Baldwin, T. W. On the
Literary Genetics of Shakespeare's Poems and Sonnets. Urbana (IL): University of Illinois Press; 1950. pp. 279, 353.
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The meter demands a few variant pronunciations: The third line's "towers" functions as one syllable, and the seventh line's "watery" as two.
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Stockard, Emily. Patterns of
Consolation in Shakespeare's Sonnets 1–126. Studies in Philology, Vol. 94, No. 4 (1997). pp. 465–493.
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Barret J.K. 'So written to aftertimes': Renaissance
England's Poetics of Futurity. Annarbor(MI): ProQuest LLC.; 2008. pp. 13–16
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Grimshaw, James. "Amphibiology in Shakespeare's Sonnet 64." Shakespeare Quarterly, Vol. 25, No. 1 (Winter, 1974), pp. 127–129.
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479:(Barret J.K. 'So written to aftertimes': Renaissance England's Poetics of Futurity. Annarbor(MI): ProQuest LLC.; 2008. pp. 13-16)
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370:(Emily Stockard, "Patterns of Consolation in Shakespeare's Sonnets 1-126", Studies in Philology, Vol. 94, No. 4 (1997): p. 479)
361:(Emily Stockard, "Patterns of Consolation in Shakespeare's Sonnets 1-126", Studies in Philology, Vol. 94, No. 4 (1997): p. 480)
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435:(Grimshaw, James. "Amphibiology in Shakespeare's Sonnet 64". Shakespeare Quarterly, Vol. 25 No. 1 (Winter 1974), pp. 127-129)
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based on five pairs of metrically weak/strong syllabic positions. The fourth line exemplifies a regular iambic pentameter:
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Vendler, Helen. The Art of Shakespeare's Sonnets. Belknap Press of Harvard University Press, 1 November 1999. pp. 299-302)
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379:(Brents Stirling, "A Shakespeare Sonnet Group", PMLA, Vol. 75, No. 4 (1960): p. 347)
347:(T. W. Baldwin, On the Literary Genetics of Shakespeare's Poems and Sonnets, p. 353)
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But weep to have that which it fears to lose. (64.13-14)
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Phonetic play in "Ruin hath taught me thus to ruminate"
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931:. The Pelican Shakespeare (Rev. ed.). New York:
602:A New Variorum Edition of Shakespeare: The Sonnets
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278:This thought is as a death, which cannot choose
113:This thought is as a death, which cannot choose
102:Increasing store with loss and loss with store;
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971:The Belknap Press of Harvard University Press
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524:Shake-speares Sonnets: Never Before Imprinted
229:, a metrically strong syllabic position. × =
117:But weep to have that which it fears to lose.
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92:When sometime lofty towers I see down-razed,
88:When I have seen by Time’s fell hand defaced
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169:written by the English playwright and poet
104:When I have seen such interchange of state,
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110:That Time will come and take my love away.
90:The rich-proud cost of outworn buried age;
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194:Sonnet 64 is an English or Shakespearean
100:And the firm soil win of the watery main,
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94:And brass eternal slave to mortal rage;
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98:Advantage on the kingdom of the shore,
96:When I have seen the hungry ocean gain
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1771:Complete Works of William Shakespeare
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108:Ruin hath taught me thus to ruminate,
651:Fairleigh Dickinson University Press
106:Or state itself confounded to decay;
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1946:Shakespeare's influence on Tolkien
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314:The Works of Shakespeare: Sonnets
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965:The Art of Shakespeare's Sonnets
266:The Art of Shakespeare's Sonnets
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3071:Sonnets by William Shakespeare
1951:Works titled after Shakespeare
718:The Complete Sonnets and Poems
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202:, followed by a final rhyming
1:
2111:Shakespeare and other authors
812:The New Cambridge Shakespeare
641:Atkins, Carl D., ed. (2007).
298:
241:, sometimes referred to as a
1993:Shakespeare Birthplace Trust
969:. Cambridge, Massachusetts:
687:(Rev. ed.). New Haven:
311:Pooler, C Knox, ed. (1918).
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45:Sonnet 64 in the 1609 Quarto
7:
1799:English Renaissance theatre
1642:The Second Maiden's Tragedy
1621:The Merry Devil of Edmonton
1153:The Two Gentlemen of Verona
714:Burrow, Colin, ed. (2002).
511:First edition and facsimile
180:
18:Poem by William Shakespeare
10:
3087:
1967:Folger Shakespeare Library
1513:The Phoenix and the Turtle
1103:The Merry Wives of Windsor
891:Folger Shakespeare Library
816:Cambridge University Press
606:J. B. Lippincott & Co.
577:The Sonnets of Shakespeare
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1981:Royal Shakespeare Company
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1124:Pericles, Prince of Tyre
634:Modern critical editions
572:Alden, Raymond Macdonald
173:. It is a member of the
1132:The Taming of the Shrew
895:Washington Square Press
854:New Penguin Shakespeare
754:Duncan-Jones, Katherine
728:Oxford University Press
1814:Lord Chamberlain's Men
1725:The Passionate Pilgrim
1498:comparison to Petrarch
1117:Much Ado About Nothing
1096:The Merchant of Venice
724:The Oxford Shakespeare
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255:Analysis and criticism
239:× × / /
2178:Shakespeare's sonnets
2004:Shakespeare Institute
1973:Shakespeare Quarterly
1492:Shakespeare's sonnets
1160:The Two Noble Kinsmen
758:Shakespeare's Sonnets
683:Shakespeare's Sonnets
598:Rollins, Hyder Edward
275:
150:—William Shakespeare
2185:"Fair Youth" sonnets
1860:Spelling of his name
1700:Vortigern and Rowena
1678:Thomas Lord Cromwell
1258:Troilus and Cressida
1188:Antony and Cleopatra
1082:Love's Labour's Lost
1068:The Comedy of Errors
519:Shakespeare, William
2193:Procreation sonnets
2084:Richard Shakespeare
2066:Gilbert Shakespeare
1998:Shakespeare's Globe
1903:Authorship question
1898:Attribution studies
1865:Stratford-upon-Avon
1707:A Yorkshire Tragedy
1685:Thomas of Woodstock
1671:The Spanish Tragedy
1612:Love's Labour's Won
1604:The London Prodigal
1561:The Birth of Merlin
1520:The Rape of Lucrece
1506:A Lover's Complaint
1386:Quarto publications
1089:Measure for Measure
1028:William Shakespeare
800:Evans, G. Blakemore
214:, a type of poetic
210:and is composed in
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1933:Screen adaptations
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856:(Rev. ed.).
775:978-1-4080-1797-5
762:Arden Shakespeare
660:978-0-8386-4163-7
564:Variorum editions
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961:, ed. (1997).
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923:, ed. (2001).
921:Orgel, Stephen
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842:Kerrigan, John
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825:978-0521294034
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802:, ed. (1996).
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689:Yale Nota Bene
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1412:Problem plays
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1146:Twelfth Night
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980:0-674-63712-7
976:
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948:
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938:
934:
933:Penguin Books
929:
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867:0-14-070732-8
863:
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858:Penguin Books
855:
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849:
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839:
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821:
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814:. Cambridge:
813:
808:
807:
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791:
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698:0-300-01959-9
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529:Thomas Thorpe
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63:
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58:
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49:
42:
37:
32:
27:
22:
16:
2523:
2098:(son-in-law)
2092:(son-in-law)
2030:Susanna Hall
1971:
1960:Institutions
1939:
1784:Coat of arms
1777:Translations
1769:
1765:Bibliography
1732:To the Queen
1730:
1723:
1705:
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1452:Performances
1396:Second Folio
1364:
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893:. New York:
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486:Bibliography
461:
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65:
15:
2136:WikiProject
1823:The Theatre
1809:Handwriting
1635:The Puritan
1426:Characters
1391:First Folio
1359:Richard III
1139:The Tempest
927:The Sonnets
806:The Sonnets
790:1st edition
649:. Madison:
537:Lee, Sidney
272:The couplet
243:minor ionic
167:154 sonnets
2599:Rival Poet
2060:Mary Arden
2044:(daughter)
2032:(daughter)
1908:Bardolatry
1818:King's Men
1760:Birthplace
1447:Chronology
1366:Henry VIII
1293:Richard II
1285:Edward III
1195:Coriolanus
766:Bloomsbury
726:. Oxford:
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527:. London:
299:References
175:Fair Youth
165:is one of
2893:" sonnets
2891:Dark Lady
2090:John Hall
2080:(brother)
2068:(brother)
2000:(replica)
1940:Star Trek
1928:Memorials
1923:Influence
1913:Festivals
1855:Sexuality
1845:Portraits
1840:New Place
1692:Ur-Hamlet
1628:Mucedorus
1538:Apocrypha
1278:King John
1269:Histories
1216:King Lear
1179:Tragedies
1075:Cymbeline
784:755065951
623:Volume II
555:458829162
200:quatrains
190:Structure
163:Sonnet 64
34:Sonnet 64
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231:nonictus
181:Synopsis
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1590:Fair Em
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1321:Henry V
1230:Othello
1223:Macbeth
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1717:Poems
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1484:Poems
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227:ictus
216:metre
1875:Will
1750:and
1747:Life
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