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many critics seem to think that sonnet 4 is an exception in the sense that it points something much deeper than sexual attachments. Pequigney states that the sonnet "correlate economic and carnal operations, and it abounds in inconsistencies". These inconsistencies that
Pequigney mentions are things like "unthrifty beauty" is later then "beauteous niggard" and how this "'profitless user' who invests large 'sums' yet cannot 'live'". They allow for the following description of the Youth: One that can "at one and the same time be a prodigal and a miser, can be extravagant with himself yet unable to 'live in posterity,' and can utilize while refraining from utilizing the sexuality of his fetching self". This complexity is what creates a "transmission of beauty" and, according to Pequigney, this is what makes "the masturbation" unacceptable. Simon Critchley says that the meaning of the couplet is that "if you don't reproduce you can leave no acceptable audit". He evens compares Sonnet 4 to The Merchant of Venice in which Shakespeare is trying to emphasize themes concerning "increase, contract, abundance, waste, 'niggarding,' or miserliness". This can be seen in the aforementioned complexities described by Pequigney. It seems as if the Speaker is insinuating that the beauty will die with the young man. This idea is reinforced by Joyce Stuphen who says that "In sonnet 4, it is nature that 'calls thee to be gone' and demands the 'acceptable audit'".
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forms of "use" to mean many different things. It is pointed out by one critic that "the procreation sonnets display with particular brilliance
Shakespeare's ability to manipulate words which in his language belonged both to the economic and the sexual/biological semantic fields". This is definitely applicable to the word and manipulation of the word "use". In terms of sexuality, it is commonly thought that the speaker is "advising the young man on the proper 'use' of his semen". The same critic also interprets the sonnet as the man misusing his semen by masturbating. Seen throughout many of the Procreation Sonnets is the idea that "the proper 'use' of semen involves not the creation of life as such but the creation of beauty". The sonnet may not only be referencing masturbation though, the "language of usury in the procreation sonnets has strong associations with both prostitution and sodomitical relations". There is, however, an economic aspect as well, changing the connotation of the quatrain. "Usury may denote a specific economic practice," but also at this time, "it all that seemed destabilizing and threatening in the socioeconomic developments affecting early modern England".
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asking a friend, the subject of the poem, why he abuses the plentiful and generous gifts he was given, which are meant to be shared with others. Then the speaker goes on to ask why he vows to be a bad shareholder, using up what he has to offer but not able to care for himself or reserve his own money. One literary piece sums this up as the "idea of miser versus money-lender". This is questioning whether or not he should loan money. Should he be a lender or should he keep from giving his money away, coming off as a miser. In quatrain 3, the speaker is trying to persuade his male friend to have children because he says that not doing so would be a waste of the man's beauty. The speaker says that there is no reason why his friend should remain alone and let his beauty die off with him. Joseph
Pequigney said that Shakespeare's sonnets have "erotic attachment and sexual involvement with the fair young man with whom all of sonnets 1-126 are concerned". Sonnet 4 clearly is a part of this group and does indeed have some references that can be taken as emotional descriptions. The couplet suggests that the young man has valuable attraction that is not being used properly or appreciated.
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him change his ways, and, as we shall see does so in the intertwined names of beauty and memory and in the face of oblivion". Sonnet Four follows these very themes with the speaker praising his friend, the young man, for his beauty, he moves on to say that his friend not having children would be inexcusable, when he says "Then how when nature calls thee to be gone: What acceptable audit canst though leave?" (lines 11–12) Here the speaker is using the unpredictability of nature to try to convince his friend to hurry up and have children. He also tries to appeal to his friend's emotions by saying, "For having traffic with thyself alone, / Thou of thyself thy sweet self dost deceive" (lines 9-10). The speaker is saying that is wrong and deceives the friend's own self if he decides to remain single and childless. Line 11 also contains a sexually suggestive play on words when the speaker says "having traffic with thyself alone". The idea of being alone is used by the speaker as being the pathetic alternative to marrying and having a family.
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characteristics. Several words in the sonnet; such as "bequest", "usurer" and "sum"; also make explicit the accounting motif of the prior sonnets. The couplet sums up with a potential answer to all of the questions that the author was posing throughout the entire sonnet. He says, "thy unused beauty must be tombed with thee" in the first line of the couplet. This is suggesting that the young man has valuable attraction that is not being used properly or appreciated. It seems as if the speaker is insinuating that the beauty will die with the young man. The last line of the couplet says, "which usèd, lives th'executor to be." Here it seems as if the speaker is saying that if the young man uses his beauty, then it will prolong his life. The word "executor" hints at both death and accounting.
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270:, edited by Michael Schoenfeldt, Shakespeare critic Schoenfeldt describes the differences in the way the speaker and the young man are portrayed in procreation sonnets, saying "The desiring male subject (the speaker) has a clear, forceful voice... But the desired male object (the young man) in the sonnets has no voice". This certainly holds true in Sonnet 4 as the speaker addresses the young man the entire time with the young man's voice never being heard.
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One of the major themes throughout
Quatrain 2 of Sonnet 4, as well as in a few other Procreation Sonnets, is the variations of "use", as noticed by Halpern. Krieger points out that this repetition of the various forms of "use" are also seen in Sonnets 6 and 9. Critics take the repetition of different
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Many critics seem to agree with H.E. Rollins that
Shakespeare's Sonnets "provide direct evidence concerning Shakespeare's private life". There was even a scholar who posed the idea that the sonnets are divided into "two groups: all those which suggest moral irregularities are 'dramatic'; the rest are
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Later in the same book, an essay from
Shakespeare critic Garret A. Sullivan Jr. describes the relationship between the speaker and the young man which is seen in sonnet four, saying "The young man of the procreation sonnets, then, is the object of admonition; the poet (speaker) urgently seeks to make
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The poem can be read simply for its ideas regarding the young man's beauty being expressed metaphorically in terms from the world of money, but the sonnet contains subsidiary meanings or innuendoes that refer to masturbation or auto-eroticism. The innuendos suggest it is a waste for the young man to
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Joseph
Pequigney said that Shakespeare's sonnets have "erotic attachment and sexual involvement with the fair young man with whom all of sonnets 1-126 are concerned". Sonnet 4 clearly is a part of this group and does indeed have some references that can be taken as emotional descriptions. However,
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The
Speaker begins Sonnet 4 (quatrain 1) by asking his male friend why he must waste his beauty on himself, because nature doesn't give people gifts besides the ones we get at birth. However, nature does lend to those who are generous with their own beauty. The second quatrain is about the speaker
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Shakespeare urges the man to have children, and thus not waste his beauty by not creating more children. To
Shakespeare, unless the male produces a child, or “executor to be", he will not have used nature's beauty correctly. Shakespeare uses economic terminology ("usurer", "sums", "executor",
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The speaker seems to personify nature in the first quatrain in saying: "Nature's bequest gives nothing, but doth lend, / And being frank, she lends to those are free" (lines 3–4). The speaker is saying that nature gives gifts at birth, and calls on people, giving something inhuman human-like
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Sonnet 4 is one of the procreation sonnets, which are sonnets 1–17. This sonnet, as well, is focused on the theme of beauty and procreation. The characters of Sonnet 4 are the speaker and his good friend (known as the young man). In the book
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Greene, Thomas M. "Pitiful
Thrivers: Failed Husbandry in the Sonnets." The Vulnerable Text: Essays on the Renaissance Literature. New York: Columbia UP, 1986. 175–93.
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Furness, Horace Howard (1874). "Review of A Concordance to Shakespeare's Poems: An Index to Every Word Therein Contained, Mrs. Horace Howard Furness".
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Scott, Alison V. (9 July 2004). "Hoarding the Treasure and Squandering the Truth: Giving and Possessing in Shakespeare's Sonnets to the Young Man".
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190:"audit", "profitless") to aid in portraying the young man's beauty as a commodity, which nature only "lends" for a certain amount of time.
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Krieger, Murray. A Window to Criticism: Shakespeare's Sonnets and Modern Poetics. Princeton: Princeton University Press, 1964.
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Stuphe Stuphen, Joyce. Shakespeare's Sonnets: Critical Essays. New York: Garland Publishing Inc., 1999. 205–06. Print.
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Crosman, Robert (1990). "Making Love out of Nothing at All: The Issue of Story in Shakespeare's Procreation Sonnets".
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Critchley, Simon; McCarthy, Tom (2004). "Universal Shylockery: Money and Morality in 'The Merchant of Venice'".
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Stapleton, M. L. (23 September 2004). "Making the Woman of Him: Shakespeare's Man Right Fair as Sonnet Lady".
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244:× /× / × / × / × / And being frank, she lends to those are free (4.4)
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Bernard, John D. (1979). "'To Constancie Confin'de': The Poetics of Shakespeare's Sonnets".
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Field, Michael (1987). "Review of Such Is My Love: A Study of Shakespeare's Sonnets".
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791:"What's the Use? Or, The Problematic of Economy in Shakespeare's Procreation Sonnets"
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McIntosh, Hugh (24 February 2010). "The Social Masochism of Shakespeare's Sonnets".
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Shakespeare's Perfume: Sodomy and Sublimity in the Sonnets, Wilde, Freud, and Lacan
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Shakespeare finishes with a warning of the fate of he who does not use his beauty:
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Shakespeares Sonnets: Being a reproduction in facsimile of the first edition
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which serves as an apt conclusion. The fourth line exemplifies a regular
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485:(Greene, Thomas M. "Pitiful Thrivers: Failed Husbandry in the Sonnets."
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spend his seed on self-gratification, and not use it for reproduction.
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Matz, Robert (6 June 2010). "The Scandals of Shakespeare's Sonnets".
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A Window to Criticism: Shakespeare's Sonnets and Modern Poetics
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Shakespeare's Sonnets: With Three Hundred Years of Commentary
225:, the typical rhyme scheme for an English or Shakespearean
616:. New York: Garland Publishing Inc., 1999. 205-06. Print.)
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The Vulnerable Text: Essays on the Renaissance Literature
336:. The Arden Shakespeare . London: Methuen & Company.
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Prince, F. T. (1950). "Review of Shakespeare: Sonnets".
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1490:. The Pelican Shakespeare (Rev. ed.). New York:
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1161:A New Variorum Edition of Shakespeare: The Sonnets
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898:Such is My Love: A Study of Shakespeare's Sonnets
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1442:Mowat, Barbara A.; Werstine, Paul, eds. (2006).
630:On the Literary Genetics of Shakspeare's Sonnets
356:On the Literary Genetics of Shakspeare's Sonnets
537:Shakespeare, William. Duncan-Jones, Katherine.
476:. Princeton: Princeton University Press, 1964.)
815:. Princeton: Princeton University Press, 1952.
358:. Urbana: University of Illinois Press, 1950.)
92:Nature’s bequest gives nothing, but doth lend,
2745:
1595:
1530:The Belknap Press of Harvard University Press
1083:Shake-speares Sonnets: Never Before Imprinted
632:. Urbana: University of Illinois Press, 1950.
252:, a metrically strong syllabic position. × =
194:Nature's bequest gives nothing but doth lend,
94:And being frank, she lends to those are free.
8:
821:SEL: Studies in English Literature 1500–1900
108:Then how, when nature calls thee to be gone,
106:Thou of thyself thy sweet self dost deceive.
96:Then, beauteous niggard, why dost thou abuse
1575:An explanation of terminology in the sonnet
1407:The Sonnets ; and, A Lover's Complaint
513:
391:
379:
205:Thy unused beauty must be tomb'd with thee,
197:And being frank she lends to those are free
169:written by the English playwright and poet
113:Thy unus’d beauty must be tomb’d with thee,
102:So great a sum of sums, yet canst not live?
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261:Themes, imagery, and specific character(s)
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98:The bounteous largess given thee to give?
88:Unthrifty loveliness, why dost thou spend
1323:, third series (Rev. ed.). London:
1031:Texas Studies in Literature and Language
501:
489:. New York: Columbia UP, 1986. 175-93.)
460:
322:
110:What acceptable audit canst thou leave?
797:. Psychology Press. pp. 263–284.
795:Shakespeare's Sonnets: Critical Essays
614:Shakespeare's Sonnets: Critical Essays
525:
431:
287:written in Shakespeare's own person".
208:Which, used, lives th' executor to be.
117:Which, used, lives th’ executor to be.
104:For having traffic with thyself alone,
20:
2354:Complete Works of William Shakespeare
367:
7:
1210:Fairleigh Dickinson University Press
975:A Companion to Shakespeare's Sonnets
774:. University of Pennsylvania Press.
100:Profitless usurer, why dost thou use
2714:
268:A Companion to Shakespeare's Sonnet
2529:Shakespeare's influence on Tolkien
973:Schoenfeldt, Michael, ed. (2010).
813:The Sense of Shakespeare's Sonnets
221:The rhyme scheme of the sonnet is
14:
1445:Shakespeare's Sonnets & Poems
333:The Works of Shakespeare: Sonnets
90:Upon thyself thy beauty’s legacy?
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2713:
2704:
2703:
2057:
1562:
1524:The Art of Shakespeare's Sonnets
217:Basic structure and rhyme scheme
51:
900:. University of Chicago Press.
412:Essays on Shakespeare's Sonnets
3654:Sonnets by William Shakespeare
2534:Works titled after Shakespeare
1277:The Complete Sonnets and Poems
1:
2694:Shakespeare and other authors
1371:The New Cambridge Shakespeare
1200:Atkins, Carl D., ed. (2007).
946:The Review of English Studies
601:Critchley & McCarthy 2004
2576:Shakespeare Birthplace Trust
1528:. Cambridge, Massachusetts:
1246:(Rev. ed.). New Haven:
793:. In Schiffer, James (ed.).
330:Pooler, C Knox, ed. (1918).
2382:English Renaissance theatre
2225:The Second Maiden's Tragedy
2204:The Merry Devil of Edmonton
1736:The Two Gentlemen of Verona
1273:Burrow, Colin, ed. (2002).
1070:First edition and facsimile
45:Sonnet 4 in the 1609 Quarto
18:Poem by William Shakespeare
3670:
2550:Folger Shakespeare Library
2096:The Phoenix and the Turtle
1686:The Merry Wives of Windsor
1450:Folger Shakespeare Library
1375:Cambridge University Press
1165:J. B. Lippincott & Co.
1136:The Sonnets of Shakespeare
896:Pequigney, Joseph (1985).
541:. Bloomsbury Arden 2010.
3460:
2688:
2569:Royal Shakespeare Theatre
2564:Royal Shakespeare Company
2055:
1693:A Midsummer Night's Dream
1637:All's Well That Ends Well
1141:Houghton Mifflin Harcourt
977:. John Wiley & Sons.
789:Herman, Peter C. (2000).
770:Halpern, Richard (2002).
741:The North American Review
59:
50:
38:
1707:Pericles, Prince of Tyre
1193:Modern critical editions
1131:Alden, Raymond Macdonald
1715:The Taming of the Shrew
1454:Washington Square Press
1413:New Penguin Shakespeare
1313:Duncan-Jones, Katherine
1287:Oxford University Press
2397:Lord Chamberlain's Men
2308:The Passionate Pilgrim
2081:comparison to Petrarch
1700:Much Ado About Nothing
1679:The Merchant of Venice
1569:Sonnet 4 (Shakespeare)
1283:The Oxford Shakespeare
2761:Shakespeare's sonnets
2587:Shakespeare Institute
2556:Shakespeare Quarterly
2075:Shakespeare's sonnets
1743:The Two Noble Kinsmen
1317:Shakespeare's Sonnets
1242:Shakespeare's Sonnets
1157:Rollins, Hyder Edward
1043:10.1353/tsl.2004.0016
1006:10.1353/sip.2004.0016
917:Shakespeare Quarterly
712:Shakespeare Quarterly
687:10.1353/dia.2006.0017
539:Shakespeare’s Sonnets
150:—William Shakespeare
2768:"Fair Youth" sonnets
2443:Spelling of his name
2283:Vortigern and Rowena
2261:Thomas Lord Cromwell
1841:Troilus and Cressida
1771:Antony and Cleopatra
1665:Love's Labour's Lost
1651:The Comedy of Errors
1078:Shakespeare, William
994:Studies in Philology
2776:Procreation sonnets
2667:Richard Shakespeare
2649:Gilbert Shakespeare
2581:Shakespeare's Globe
2486:Authorship question
2481:Attribution studies
2448:Stratford-upon-Avon
2290:A Yorkshire Tragedy
2268:Thomas of Woodstock
2254:The Spanish Tragedy
2195:Love's Labour's Won
2187:The London Prodigal
2144:The Birth of Merlin
2103:The Rape of Lucrece
2089:A Lover's Complaint
1969:Quarto publications
1672:Measure for Measure
1611:William Shakespeare
1359:Evans, G. Blakemore
958:10.1093/res/I.1.255
171:William Shakespeare
2661:Edmund Shakespeare
2619:Hamnet Shakespeare
2516:Screen adaptations
2239:Sir John Oldcastle
2137:Arden of Faversham
873:10.1353/elh.0.0082
833:10.1353/sel.0.0083
472:(Krieger, Murray.
405:Larsen, Kenneth J.
229:. There are three
175:procreation sonnet
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2631:Elizabeth Barnard
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1751:The Winter's Tale
1567:Works related to
1415:(Rev. ed.).
1334:978-1-4080-1797-5
1321:Arden Shakespeare
1219:978-0-8386-4163-7
1123:Variorum editions
1055:Project MUSE
1018:Project MUSE
984:978-1-4443-3206-3
907:978-0-226-65563-5
885:Project MUSE
845:Project MUSE
804:978-0-8153-3893-2
781:978-0-8122-3661-3
612:(Stuphen, Joyce.
576:, pp. 15–16.
239:iambic pentameter
223:abab cdcd efef gg
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2655:Joan Shakespeare
2637:John Shakespeare
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2521:Shakespeare and
2232:Sejanus His Fall
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2159:Double Falsehood
2126:
2110:Venus and Adonis
2061:
1834:Titus Andronicus
1820:Romeo and Juliet
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1163:. Philadelphia:
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747:(245): 436–442.
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2684:
2633:(granddaughter)
2591:
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2433:Religious views
2411:Curtain Theatre
2332:
2320:
2295:
2246:Sir Thomas More
2192:
2166:Edmund Ironside
2115:
2062:
2049:
2023:Ghost character
1983:
1955:
1846:
1827:Timon of Athens
1756:
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1540:
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1478:
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1403:, ed. (1995) .
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1238:, ed. (2000) .
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1106:Clarendon Press
1094:
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811:Hubler, Edwin.
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2372:Collaborations
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2015:
2007:
2002:
1997:
1991:
1989:
1985:
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1961:Early editions
1957:
1956:
1954:
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1644:As You Like It
1640:
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1572:
1558:
1557:External links
1555:
1553:
1552:
1538:
1520:, ed. (1997).
1518:Vendler, Helen
1514:
1501:978-0140714531
1500:
1482:, ed. (2001).
1480:Orgel, Stephen
1476:
1463:978-0743273282
1462:
1439:
1425:
1401:Kerrigan, John
1397:
1384:978-0521294034
1383:
1361:, ed. (1996).
1355:
1333:
1309:
1296:978-0192819338
1295:
1270:
1256:
1248:Yale Nota Bene
1236:Booth, Stephen
1232:
1218:
1196:
1195:
1194:
1189:
1188:
1159:, ed. (1944).
1153:
1133:, ed. (1916).
1126:
1125:
1124:
1119:
1118:
1098:, ed. (1905).
1092:
1073:
1072:
1071:
1067:
1066:
1063:
1037:(3): 271–295.
1026:
1000:(3): 315–331.
989:
983:
970:
952:(3): 255–258.
941:
923:(3): 375–377.
912:
906:
893:
867:(2): 477–508.
856:
853:
827:(1): 109–125.
816:
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718:(4): 470–488.
707:
670:
650:10.2307/461802
633:
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618:
605:
590:
586:Pequigney 1985
578:
574:Pequigney 1985
566:
562:Pequigney 1985
551:
530:
518:
516:, p. 337.
506:
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478:
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449:Pequigney 1985
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2679:Thomas Quiney
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2669:(grandfather)
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2387:Globe Theatre
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2019:
2016:
2014:
2011:
2010:
2008:
2006:
2003:
2001:
2000:Late romances
1998:
1996:
1995:Problem plays
1993:
1992:
1990:
1986:
1980:
1977:
1975:
1972:
1970:
1967:
1966:
1964:
1962:
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1951:
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1792:Julius Caesar
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1733:
1731:
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2392:Handwriting
2218:The Puritan
2009:Characters
1974:First Folio
1942:Richard III
1722:The Tempest
1486:The Sonnets
1365:The Sonnets
1349:1st edition
1208:. Madison:
1096:Lee, Sidney
681:(1): 3–17.
526:Herman 2000
463:, p. .
451:, p. .
432:Prince 1950
417:18 November
382:, p. .
177:within the
167:154 sonnets
3182:Rival Poet
2643:Mary Arden
2627:(daughter)
2615:(daughter)
2491:Bardolatry
2401:King's Men
2343:Birthplace
2030:Chronology
1949:Henry VIII
1876:Richard II
1868:Edward III
1778:Coriolanus
1325:Bloomsbury
1285:. Oxford:
1139:. Boston:
1104:. Oxford:
1086:. London:
675:Diacritics
623:References
408:"Sonnet 4"
368:Field 1987
181:sequence.
179:Fair Youth
173:. It is a
165:is one of
3476:" sonnets
3474:Dark Lady
2673:John Hall
2663:(brother)
2651:(brother)
2583:(replica)
2523:Star Trek
2511:Memorials
2506:Influence
2496:Festivals
2438:Sexuality
2428:Portraits
2423:New Place
2275:Ur-Hamlet
2211:Mucedorus
2121:Apocrypha
1861:King John
1852:Histories
1799:King Lear
1762:Tragedies
1658:Cymbeline
1343:755065951
1182:Volume II
1114:458829162
1051:161512019
1014:170143144
881:161914623
841:145618922
703:144336838
666:163417725
300:Sexuality
282:Criticism
231:quatrains
3648:Category
2709:Category
2657:(sister)
2645:(mother)
2639:(father)
2151:Cardenio
2040:Settings
1988:See also
1911:Henry VI
1882:Henry IV
1628:Comedies
1548:36806589
1510:46683809
1472:64594469
1435:15018446
1393:32272082
1305:48532938
1228:86090499
1178:Volume I
1080:(1609).
753:25109868
549:. p. 119
254:nonictus
185:Synopsis
163:Sonnet 4
34:Sonnet 4
3443:"Envoy"
3184:sonnets
2501:Gardens
2377:Editors
2180:Locrine
2173:Fair Em
2005:Henriad
1904:Henry V
1813:Othello
1806:Macbeth
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235:couplet
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2463:Grave
2453:Style
2418:Music
2335:works
2300:Poems
2129:Plays
2067:Poems
1619:Plays
1047:S2CID
1010:S2CID
962:JSTOR
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699:S2CID
691:JSTOR
662:S2CID
654:JSTOR
318:Notes
291:"Use"
250:ictus
2458:Will
2333:and
2330:Life
1544:OCLC
1534:ISBN
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419:2014
338:OCLC
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