Those pretty wrongs that liberty commits,
When I am sometime absent from thy heart,
Thy beauty and thy years full well befits,
For still temptation follows where thou art.
Gentle thou art, and therefore to be won,
Beauteous thou art, therefore to be assailed;
And when a woman woos, what woman’s son
Will sourly leave her till she have prevailed?
Ay me! but yet thou mightst my seat forbear,
And chide thy beauty and thy straying youth,
Who lead thee in their riot even there
Where thou art forc’d to break a twofold truth,
Hers, by thy beauty tempting her to thee,
Thine, by thy beauty being false to me.
Tag Archives: renaissance
Take all my loves, my love, yea, take them all;
What hast thou then more than thou hadst before?
No love, my love, that thou mayst true love call;
All mine was thine before thou hadst this more.
Then, if for my love thou my love receivest,
I cannot blame thee for my love thou usest;
But yet be blamed, if thou thyself deceives
By wilful taste of what thyself refusest.
I do forgive thy robbery, gentle thief,
Although thou steal thee all my poverty:
And yet, love knows, it is a greater grief
To bear love’s wrong than hate’s known injury.
Lascivious grace, in whom all ill well shows,
Kill me with spites; yet we must not be foes.
In this sonnet, we are presented with a love triangle that is interesting even by modern standards. The speaker is a man who is in love with a younger man. The younger man decides to have sex with the older man’s wife or mistress. The older man, so enamored by the younger man, seeks to reconcile his feelings of love with the pain of jealousy and betrayal, as he becomes aware that his love for the younger man is not enough to satisfy the younger man’s desires.
What strikes me the most about this poem is the pure honesty. Shakespeare cuts right to the heart of complex human emotion and in a mere 14 lines conveys layers of passion and suffering. You can actually sense the speaker’s feeling of being torn between love and hate, compassion and anger, trying desperately to reconcile the conflicting emotions within. And while we may not have personally experienced the same situation, I suspect we can all relate to the feeling of being torn between love and anger.
I hope you enjoyed this poem. Have a great day, and keep on reading.
O, how thy worth with manners may I sing,
When thou art all the better part of me?
What can mine own praise to mine own self bring,
And what is’t but mine own when I praise thee?
Even for this, let us divided live,
And our dear love lose name of single one,
That by this separation I may give
That due to thee which thou deserv’st alone.
O absence, what a torment wouldst thou prove,
Were it not thy sour leisure gave sweet leave
To entertain the time with thoughts of love,
Which time and thoughts so sweetly dost deceive,
And that thou teachest how to make one twain
By praising him here who doth hence remain!
This seems to me a poignant poem considering what we are all dealing with in regard to the COVID pandemic. In this sonnet, Shakespeare expresses the pain of being separated from someone he deeply loves, loves to the point where they are as one when together. And yet, he acknowledges that it is only because of the separation that he is able to compose poetry praising his beloved, for then they are together, they are one and Shakespeare would not be able to differentiate himself from his love.
In the same way Shakespeare was reaching out to his beloved from a distance through poetry, we are also reaching out to those we love in creative ways, via Zoom, social distance outdoor gatherings, and yes, some of us have even gone back to writing letters.
There is an old adage that absence makes the heart grow fonder. There is truth here. Not being able to spend time with those I love makes me painfully aware of the love I feel for those people. But at least it seems the end of this isolation is drawing near. We just need to hang on a little bit longer.
I hope this poem provides you with some light in the remainder of these dark days. Many blessings to you and your dear ones.
My friend Robert sent me this book, knowing that I am a bit of a Shakespeare buff. It’s a work of historical fiction intended for a young adult audience. The story is a fictional memoir of a boy actor, John Rice, who assumed the female roles in performances during the rule of King James I.
Similar to what the world is experiencing now with COVID, the plague was rampant in the Jacobean period, and this led to the closing of theaters as a way to control the spread.
In 1603 the plague once again struck London with a terrible ferocity, bringing about the deaths of thousands of innocent men, women and children. To help stop the spread of the dreaded disease, which at its height was laying more than thirteen hundred innocents dead from one Sabbath to the next, it was ordered that theaters in London be closed.
As John begins his apprenticeship and is groomed to transform himself into female roles on stage, he must confront questions of gender identity and seems to accept the idea of gender fluidity.
This was, or so it seems to me, at the heart of the questions that has haunted my thoughts and even my dreams throughout my life on stage. What exactly is it that makes one a man? Or a woman? Or is it possible to be composed of elements of both? Is there a difference between how you are seen by the world and how you see yourself?
Some of the more interesting aspects of this book, for me anyway, are the fictional dialogs between Shakespeare and John Rice, as Shakespeare provides insight into the plays and various roles to help John better embody the role. One in particular stands out, where Shakespeare claims that the Guy Fawkes conspiracy helped inspire the themes he would explore in Macbeth.
“What concerns me, John, now that all involved in the nefarious Gunpowder Plot have been given the justice they deserved, is how and why it could have happened. Not merely the specific political and religious reasons for the plot, but in a larger sense how does a seemingly normal if ambitious Scottish nobleman become a murderous tyrant and perform such truly unthinkable and unutterable acts of violence? What sort of lies and stories and pretended reasons do such men tell themselves to justify their actions? Is the source of evil within themselves, or are they being acted upon by outside forces?”
These are questions that are just as important today as they were in the 1600s. People somehow convince themselves that the cruel and violent acts they commit are somehow justified, even heroic. Is this a part of who we are as a species, or do we allow the words of others to enter our ears and poison our thoughts?
As always, thanks for stopping by and sharing in my musings. I hope you are well, and please stay safe and sane in these turbulent days.
This past weekend was a milestone for Stuff Jeff Reads. After publishing my thoughts on The Tempest, I have officially covered every Shakespeare play on my blog. Fear not, though. If you are a Shakespeare fan, there are still plenty of sonnets, as well as some longer poems for me to read and write about.
So here is the list of all 38 plays, with links to my reviews. In addition, you can access everything in my archive via the Books & Poems by Author page. Enjoy, and never stop reading!
- A Midsummer Night’s Dream — View Post
- All’s Well That Ends Well — View Post
- Antony and Cleopatra — View Post
- As You Like It — View Post
- Comedy of Errors — View Post
- Coriolanus — View Post
- Cymbeline — View Post
- Double Falsehood — View Post
- Hamlet — View Post
- Henry IV, Part 1 — View Post
- Henry IV, Part 2 — View Post
- Henry V — View Post
- Henry VI, Part 1 — View Post
- Henry VI, Part 2 — View Post
- Henry VI, Part 3 — View Post
- Henry VIII — View Post
- Julius Caesar — View Post
- King John — View Post
- King Lear — View Post
- Love’s Labour’s Lost — View Post
- Macbeth — View Post
- Measure for Measure — View Post
- Merchant of Venice — View Post
- Merry Wives of Windsor — View Post
- Much Ado About Nothing — View Post
- Othello — View Post
- Pericles — View Post
- Richard II — View Post
- Richard III — View Post
- Romeo and Juliet — View Post
- Taming of the Shrew — View Post
- The Tempest — View Post
- Timon of Athens — View Post
- Titus Andronicus — View Post
- Troilus and Cressida — View Post
- Twelfth Night — View Post
- The Two Gentlemen of Verona — View Post
- The Winter’s Tale — View Post
I like this play a lot, and have read it and seen it performed multiple times. It is such a rich play that one could write volumes on it. Having said that, I decided that I would keep my post short and focus on one of Prospero’s passages that exemplifies the wonder of this play.
You do look, my son, in a moved sort,
As if you were dismay’d: be cheerful, sir.
Our revels now are ended. These our actors,
As I foretold you, were all spirits and
Are melted into air, into thin air:
And, like the baseless fabric of this vision,
The cloud-capp’d towers, the gorgeous palaces,
The solemn temples, the great globe itself,
Ye all which it inherit, shall dissolve
And, like this insubstantial pageant faded,
Leave not a rack behind. We are such stuff
As dreams are made on, and our little life
Is rounded with a sleep. Sir, I am vex’d;
Bear with my weakness; my, brain is troubled:
Be not disturb’d with my infirmity:
If you be pleased, retire into my cell
And there repose: a turn or two I’ll walk,
To still my beating mind.
(Act IV, scene i)
Reading this gives you the sense of a wise person nearing the end of their life. The revels of youth are over, and one must accept that we are but actors who have a fleeting role in the human drama. We are spiritual beings destined to melt back into the heavens. Our consciousness is but a dream, and when our sojourn is over, we will drift back into the eternal sleep, becoming one with the universal consciousness from which we emanated.
There is nothing I can say that can add to the splendor of this passage. It is, in my humble opinion, perfect in every way.
I hope you enjoyed this post, even though it was short. May it inspire you to make the most of life, before this insubstantial pageant fades away, into thin air.
My first ever exposure to Shakespeare was an excerpt from this play. As a kid, I somehow acquired a copy of a cheap paperback book called Immortal Poems of the English Language. I can still picture the cover. Anyway, the book included a Shakespeare “poem” entitled “Fear No More,” which I would discover many years later was actually just a passage from Cymbeline. But I loved this poem and read it over and over as a kid. So, having just re-read this play, it is that passage that I want to focus on.
Fear no more the heat o’ the sun,
Nor the furious winter’s rages;
Thou thy worldly task hast done,
Home art gone, and ta’en thy wages:
Golden lads and girls all must,
As chimney-sweepers, come to dust.
Fear no more the frown o’ the great;
Thou art past the tyrant’s stroke;
Care no more to clothe and eat;
To thee the reed is as the oak:
The sceptre, learning, physic, must
All follow this, and come to dust.
Fear no more the lightning flash,
Nor the all-dreaded thunder-stone;
Fear not slander, censure rash;
Thou hast finish’d joy and moan:
All lovers young, all lovers must
Consign to thee, and come to dust.
No exorciser harm thee!
Nor no witchcraft charm thee!
Ghost unlaid forbear thee!
Nothing ill come near thee!
Quiet consummation have;
And renowned be thy grave!
(Act IV: scene ii)
Just a quick note: the above passage is sung by two characters, Guiderius and Arviragus, and in the play they take turns with sections and lines, but I have omitted the names to preserve the flow that was in my old poetry book.
While these words are being spoken over a supposedly deceased person in the play, blessing the spirit as it is freed from the suffering of existence, it speaks volumes to the living. “Fear no more.” We spend so much of our lives worrying about things that in the end will amount to nothing. Death awaits all of us and is a part of all life. When we accept this fact, that we will “as chimney-sweepers, come to dust,” our priorities change. We recognize what is truly important in life, and can let go of the senseless worry and fear that burdens the existence of so many individuals, robbing them of the joy to be experienced during our brief sojourn.
Another aspect of this passage that resonates with me is in the second stanza: “The sceptre, learning, physic, must / All follow this, and come to dust.” It does not matter how much political power you amass, how educated you are, or how physically strong you might be; ultimately, you will die, just like everyone else. Death is the great equalizer.
While I focused on my favorite passage from this play, I want to close by saying that this is a really good play, and does not get the attention I feel it deserves. The story is great, the writing is superb, and it has a little bit of everything: history, tragedy, comedy, romance, and philosophy. If you have never read this play, I highly recommend you do so.
Thanks for stopping by, and remember, in these crazy times: Fear No More.
This was my first time reading this play, and I have mixed feelings about it. There are some things I liked, and a lot that just did not work for me. It is worth noting that in the Introduction to the text, G.B. Harrison points out that scholars believe that Shakespeare only wrote a small part of the play, and that the poor writing which dominates the text is from someone else.
… Pericles is still retained in the canon of Shakespeare’s work, though there is little trace of his hand in any passage before Act III. With the third act the style changes and much of the remainder of the play may well b e Shakespeare’s writing, but if so it is Shakespeare far below his best. Most critics are agreed, however, that the prose scenes of the brothel (IV.ii and vi) are undoubtedly his. The earlier scenes of the play, especially I.iv and II.vi and v, are puerile melodrama and so badly written that they might almost be parodies of Elizabethan drama at its worst. The poor quality of these scenes may be partly due to the fact that the text of this play was a piracy.
This really sums up the play well. The early acts are cringe-worthy, where the writer resorted to using the same word at the end of couplet lines to create rhyme. It almost seems like the person who swiped Shakespeare’s sections and tried to fill in the blank acts really didn’t even care enough to try to create quality work.
The other thing that really bothered me about this play was the excessive use of a chorus as a narrator to drive the story. Every act begins with a chorus scene to advance the timeline and skip a bunch of events, and then some acts have other chorus scenes interspersed. The play covers a time span of what appears to be at least 16 years (possibly more). Aristotle must have rolled over in his grave when this was put forth.
I will say, though, that the last two acts were good, but not good enough to save the play as a whole. I liked the way that the play resolved itself, and the reunion of Pericles with his wife and daughter was touching.
During my reading, I took a few notes on some passages, but upon reviewing them, I don’t feel that they are worth expounding on. That said, to sum up, unless you are like me and just want to be able to say you read everything by Shakespeare, you can probably skip reading this one. Since time is limited and reading material vast, you’d be better off spending your time reading Hamlet again.
Thanks for stopping by, and have an amazing day.