197:"love", further developing the speaker's theme of adoration and personal affection for youth. From there, the speaker tells this youth that "you are / No longer yours, than you yourself here live", saying that the youth's identity is constantly fading away from him as he ages, as if he is unbecoming himself. With the lines "Against this coming end you should prepare / And your sweet semblance to some other give", the speaker is simply saying that the youth's life is slipping away day after day, and if he doesn't get married and have children, he will lose his identity to his death. Continuing from this idea, the speaker says "So should that beauty which you hold in lease / Find no determination; then you were / Yourself again after yourself's decease, / When your sweet issue your sweet form should bear", all meaning that whatever beauty the youth still has is only temporary (leased to him) and will be lost, unless he has children who continue the legacy and identity of his youthful beauty even after death. Continuing with "Who lets so fair a house fall to decay," the speaker refers to the youth as this "house" in reference to his fair body and his fair lineage. Adding to this, the speaker continues on with "Which husbandry in honour might uphold, / Against the stormy gusts of winter's day / And barren rage of death's eternal cold?". These lines suggest that by taking up marriage and becoming a husband and a father, the youth might be able to maintain his essence of youth against the devastations of time and age. This, the speaker compares to storms and winter, ending with the threat of the eternal nature of death, at which point the youth would be too late in renewing himself. In the ending couplet, the speaker mirrors his starting wail of lament in line 1 with "O! none but unthrifts. Dear my love, you know, / You had a father: let your son say so." Here, the speaker is separating the youth figure he adores from those he considers foolish, or "unthrifts", and connects that to the youth's inheritance, suggesting that only "unthrifts" would ignore their inheritance of life and youth and deny their own fathers' wish for continued lineage and legacy.
310:
time these terms of endearment are used in the sonnet sequence. These lines suggest an intimate, and possibly romantic relationship between the two men, though this piece focuses on the young man having children. A contradicting view of love occurs in Line 14, when
Shakespeare states "You had a father; let your son say so". This final line from Sonnet 13 suggests that the love that Shakespeare had for the young man was a parental love, similar to one a father would have towards his son.
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188:, the speaker declares his admiration and love for the beauty of youth, but warns this figure of youth that he will lose it if he doesn't revitalize himself through offspring. The primary arguments made in this procreation sonnet are the maintenance of self-identity and duty to one's own heritage. His tone throughout the sonnet is intimate, highlighting the theme of affection for youth that is prevalent in the first seventeen sonnets.
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209:. Sonnets 1-17 are an introduction to the plot of the complete sonnets. Each of these 17 sonnets is a different argument to convince the young man to marry a woman and have children to continue his legacy and to have his beauty live on. In Sonnet 13, the poet uses his undying love for the young man as a motivator and as an encourager for the youth to marry a woman and eternalize his beauty by having children.
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228:, who Shakespeare may have dedicated his First Folio. While the connection seems strong, it is only speculation. Sonnet 13 shows the increasing amount of love that the speaker holds for the man and is more intimate than the previous sonnets. It is also the first of Shakespeare's sonnets where he refers to the young man as "
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The
Sonnets collection is suspected to have been written during an unknown timeline of years beginning prior to 1598 and then more periodically from 1599 to 1609. 1609 is the year that the collection was finally published for the first time. Shakespeare's book of sonnets is dedicated to "Mr. W.H.".
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The love that
Shakespeare has for the young man has contradicting views in Sonnet 13. One aspect of love includes Shakespeare viewing the young man as a lover, or perhaps, as a personification of love itself. In Line 1, the young man is referred to as "Love" and in Line 13 as "My Love", the first
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In Sonnet 13, for the first time, Shakespeare refers to the young man as "you" instead of his usual address of "thou", which he used in sonnets 1–12. This is more formal as thou, like the French "tu" is used for intimates and the use of "you" here is therefore at odds with the personal intensity
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lease" and "yourself's decease" before the end of the octave to speaking about the regenerative nature of husbandry and the duty to one's parents to continue the line with words such as "Who lets so fair a house fall to decay" and "dear my love you know: / You had a father; let your son say so."
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highlight the poem's theme of having children in marriage to combat mortality's damages. In 16th century conveyancing 'the determination of a tenancy' or 'the determination of a lease', its ceasing, occurred when the husbandman or leasee died without heirs and the use of the lands or estate fell
256:
is ABAB CDCD EFEF GG. The rhyme scheme follows that of the 'English', or 'Surreyan', form of sonnet. After line 8 (the octave), there is a change of tone and fresh imagery. This is shown when the speaker moves from speaking about the young man's loss of identity to age with words like "hold in
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The sonnet begins with the speaker expressing lament to youth with "O that you were yourself!" More simply, the speaker deplores that youth isn't absolute and permanent, and with "yourself", the speaker is referring to the figure of youth's soul. Following this, the speaker address the youth as
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again to the leasor. The poet here argues that, if the youth were to have sired children, then the beauty, at present leased to him, should on his death not find a "determination" or cessation, because heirs would exist to whom the lease of beauty could be bequeathed.
224:, the figure of youth to whom the sonnets are directed towards is hinted to be someone who has had of at least three years. In attempts to match Shakespeare's references of time and known relationships, of who this figure of youth (and also W.H) may be is
217:, the bride of Shakespeare, is the mysterious W.H. because of her masculine features. Another possibility is that W.H. could refer to Anne's brother, William Hathaway. The initials are appropriate for the dedication.
294:× × / / × × / / × / When your sweet issue your sweet form should bear. / × × / × / / × × / Who lets so fair a house fall to decay, (13.8-9)
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Here, the two instances of ictuses moved to the right tend to set a deliberate pace, whereas the following two instances of ictuses moved to the left suggest an abrupt rhythm.
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McGarrity, Maria. "The "Houses of Decay" and
Shakespeare's "Sonnet 13": Another Nexus in "Proteus"" James Joyce Quarterly Fall 35.1 (1997): 153-55. JSTOR. Web. 17 Sept. 2014.
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Busse, Ulrich. Linguistic
Variation in the Shakespeare Corpus: Morpho-syntactic Variability of Second Person Pronouns. Amsterdam: J. Benjamins Pub., 2002. 91. Print.
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Shakespeare, William, and David
Alexander West. Shakespeare's Sonnets: With a New Commentary. London: Gerald Duckworth & Co, 2007. 50. Print.
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Mirsky, Mark J. The Drama in
Shakespeare's Sonnets: "A Satire to Decay". Madison: Fairleigh Dickinson UP, 2011. 45. Print.
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Vendler, Helen. The Art of
Shakespeare's Sonnets. Cambridge, MA: Belknap of Harvard UP, 1997. 102. Print.
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Vendler, Helen. The Art of
Shakespeare's Sonnets. Cambridge, MA: Belknap of Harvard UP, 1997. 102. Print.
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There has been much academic speculation and conversation over who W.H. could be. One argument is that
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between line eight and nine is supported by the distinct rhythms of the two lines, which may be
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Duncan-Jones, Katherine (2010). Shakespeare's
Sonnets. Bloomsbury, New York. 96-97. Print.
263:× / × / × / × / × / Against the stormy gusts of winter's day (13.11)
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Duncan-Jones, Katherine (2010). Shakespeare's Sonnets. Bloomsbury, New York. 136. Print.
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Shakespeares Sonnets: Being a reproduction in facsimile of the first edition
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in contrast to the speaker's pleas to the figure of youth with terms like
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Line eleven may be taken as an example of regular iambic pentameter:
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toward this figure of youth . Its use could signify potential loss.
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Shakespeare's Sonnets: With Three Hundred Years of Commentary
369:. The Arden Shakespeare . London: Methuen & Company.
391:. London: Gerald Duckworth & Co, 2007. 6-7. Print.
986:. The Pelican Shakespeare (Rev. ed.). New York:
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657:A New Variorum Edition of Shakespeare: The Sonnets
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102:When your sweet issue your sweet form should bear.
938:Mowat, Barbara A.; Werstine, Paul, eds. (2006).
387:Shakespeare, William, and David Alexander West.
313:The repetition of terms relating to death, like
244:Sonnet 13 follows the same format as the other
205:Sonnet 13 is included as one of Shakespeare's
2236:
1086:
1026:The Belknap Press of Harvard University Press
579:Shake-speares Sonnets: Never Before Imprinted
271:, a metrically strong syllabic position. × =
113:O, none but unthrifts: dear my love, you know
96:So should that beauty which you hold in lease
88:O, that you were yourself! but, love, you are
8:
561:. New York: Holmes & Meier, 1978. Print.
389:Shakespeare's Sonnets: With a New Commentary
94:And your sweet semblance to some other give.
90:No longer yours than you yourself here live:
903:The Sonnets ; and, A Lover's Complaint
169:written by the English playwright and poet
92:Against this coming end you should prepare,
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557:Ingram, W.G., and Theodore Redpath, eds.
100:Yourself again, after yourself’s decease,
819:, third series (Rev. ed.). London:
110:And barren rage of death’s eternal cold?
108:Against the stormy gusts of winter’s day
355:
104:Who lets so fair a house fall to decay,
117:You had a father; let your son say so.
106:Which husbandry in honour might uphold
20:
1845:Complete Works of William Shakespeare
226:William Herbert, 3rd Earl of Pembroke
7:
706:Fairleigh Dickinson University Press
98:Find no determination; then you were
2205:
2020:Shakespeare's influence on Tolkien
14:
941:Shakespeare's Sonnets & Poems
366:The Works of Shakespeare: Sonnets
2953:
2204:
2195:
2194:
1548:
1058:
1020:The Art of Shakespeare's Sonnets
417:. New York: AS, 2010. 12. Print.
404:. New York: AS, 2010. 100. Print
51:
534:Essays on Shakespeare's Sonnets
434:Essays on Shakespeare's Sonnets
3145:Sonnets by William Shakespeare
2025:Works titled after Shakespeare
773:The Complete Sonnets and Poems
1:
2185:Shakespeare and other authors
867:The New Cambridge Shakespeare
696:Atkins, Carl D., ed. (2007).
2067:Shakespeare Birthplace Trust
1024:. Cambridge, Massachusetts:
742:(Rev. ed.). New Haven:
363:Pooler, C Knox, ed. (1918).
45:Sonnet 13 in the 1609 Quarto
1873:English Renaissance theatre
1716:The Second Maiden's Tragedy
1695:The Merry Devil of Edmonton
1227:The Two Gentlemen of Verona
769:Burrow, Colin, ed. (2002).
566:First edition and facsimile
18:Poem by William Shakespeare
3161:
2041:Folger Shakespeare Library
1587:The Phoenix and the Turtle
1177:The Merry Wives of Windsor
946:Folger Shakespeare Library
871:Cambridge University Press
661:J. B. Lippincott & Co.
632:The Sonnets of Shakespeare
2951:
2179:
2060:Royal Shakespeare Theatre
2055:Royal Shakespeare Company
1546:
1184:A Midsummer Night's Dream
1128:All's Well That Ends Well
637:Houghton Mifflin Harcourt
413:Duncan Jones, Katherine.
400:Duncan Jones, Katherine.
59:
50:
38:
1198:Pericles, Prince of Tyre
689:Modern critical editions
627:Alden, Raymond Macdonald
1206:The Taming of the Shrew
1065:Sonnet 13 (Shakespeare)
950:Washington Square Press
909:New Penguin Shakespeare
809:Duncan-Jones, Katherine
783:Oxford University Press
1888:Lord Chamberlain's Men
1799:The Passionate Pilgrim
1572:comparison to Petrarch
1191:Much Ado About Nothing
1170:The Merchant of Venice
779:The Oxford Shakespeare
248:. There are fourteen
2252:Shakespeare's sonnets
2078:Shakespeare Institute
2047:Shakespeare Quarterly
1566:Shakespeare's sonnets
1234:The Two Noble Kinsmen
813:Shakespeare's Sonnets
738:Shakespeare's Sonnets
653:Rollins, Hyder Edward
559:Shakespeare's Sonnets
415:Shakespeare's Sonnets
402:Shakespeare's Sonnets
246:Shakespearean Sonnets
150:—William Shakespeare
2259:"Fair Youth" sonnets
1934:Spelling of his name
1774:Vortigern and Rowena
1752:Thomas Lord Cromwell
1332:Troilus and Cressida
1262:Antony and Cleopatra
1156:Love's Labour's Lost
1142:The Comedy of Errors
574:Shakespeare, William
2267:Procreation sonnets
2158:Richard Shakespeare
2140:Gilbert Shakespeare
2072:Shakespeare's Globe
1977:Authorship question
1972:Attribution studies
1939:Stratford-upon-Avon
1781:A Yorkshire Tragedy
1759:Thomas of Woodstock
1745:The Spanish Tragedy
1686:Love's Labour's Won
1678:The London Prodigal
1635:The Birth of Merlin
1594:The Rape of Lucrece
1580:A Lover's Complaint
1460:Quarto publications
1163:Measure for Measure
1102:William Shakespeare
855:Evans, G. Blakemore
207:Procreation sonnets
171:William Shakespeare
2152:Edmund Shakespeare
2110:Hamnet Shakespeare
2007:Screen adaptations
1730:Sir John Oldcastle
1628:Arden of Faversham
527:Larsen, Kenneth J.
428:Larsen, Kenneth J.
175:procreation sonnet
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1242:The Winter's Tale
1063:Works related to
911:(Rev. ed.).
830:978-1-4080-1797-5
817:Arden Shakespeare
715:978-0-8386-4163-7
619:Variorum editions
250:iambic pentameter
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2128:John Shakespeare
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2012:Shakespeare and
1723:Sejanus His Fall
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1650:Double Falsehood
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1311:Romeo and Juliet
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1737:Sir Thomas More
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1657:Edmund Ironside
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1016:, ed. (1997).
1014:Vendler, Helen
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997:978-0140714531
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978:, ed. (2001).
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2172:(son-in-law)
2166:(son-in-law)
2104:Susanna Hall
2045:
2034:Institutions
2013:
1858:Coat of arms
1851:Translations
1843:
1839:Bibliography
1806:To the Queen
1804:
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1470:Second Folio
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948:. New York:
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537:. Retrieved
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2210:WikiProject
1897:The Theatre
1883:Handwriting
1709:The Puritan
1500:Characters
1465:First Folio
1433:Richard III
1213:The Tempest
982:The Sonnets
861:The Sonnets
845:1st edition
704:. Madison:
592:Lee, Sidney
539:23 November
530:"Sonnet 13"
439:23 November
177:within the
167:154 sonnets
2673:Rival Poet
2134:Mary Arden
2118:(daughter)
2106:(daughter)
1982:Bardolatry
1892:King's Men
1834:Birthplace
1521:Chronology
1440:Henry VIII
1367:Richard II
1359:Edward III
1269:Coriolanus
821:Bloomsbury
781:. Oxford:
635:. Boston:
600:. Oxford:
582:. London:
431:"Mr. W.H."
350:References
222:Sonnet 104
192:Paraphrase
181:sequence.
179:Fair Youth
173:. It is a
165:is one of
2967:" sonnets
2965:Dark Lady
2164:John Hall
2154:(brother)
2142:(brother)
2074:(replica)
2014:Star Trek
2002:Memorials
1997:Influence
1987:Festivals
1929:Sexuality
1919:Portraits
1914:New Place
1766:Ur-Hamlet
1702:Mucedorus
1612:Apocrypha
1352:King John
1343:Histories
1290:King Lear
1253:Tragedies
1149:Cymbeline
839:755065951
678:Volume II
610:458829162
343:husbandry
331:unthrifts
240:Structure
163:Sonnet 13
34:Sonnet 13
3139:Category
2200:Category
2148:(sister)
2136:(mother)
2130:(father)
1642:Cardenio
1531:Settings
1479:See also
1402:Henry VI
1373:Henry IV
1119:Comedies
1044:36806589
1006:46683809
968:64594469
931:15018446
889:32272082
801:48532938
724:86090499
674:Volume I
576:(1609).
301:Analysis
273:nonictus
2934:"Envoy"
2675:sonnets
1992:Gardens
1868:Editors
1671:Locrine
1664:Fair Em
1496:Henriad
1395:Henry V
1304:Othello
1297:Macbeth
762:2968040
668:6028485
375:4770201
319:decease
289:scanned
232:" and "
201:Context
184:In the
2189:† Lost
2100:(wife)
2091:Family
1964:Legacy
1536:Scenes
1276:Hamlet
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341:, and
339:beauty
327:barren
186:sonnet
2112:(son)
1954:Grave
1944:Style
1909:Music
1826:works
1791:Poems
1620:Plays
1558:Poems
1110:Plays
335:sweet
323:decay
281:volta
269:ictus
1949:Will
1824:and
1821:Life
1040:OCLC
1030:ISBN
1002:OCLC
992:ISBN
964:OCLC
954:ISBN
927:OCLC
917:ISBN
885:OCLC
875:ISBN
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787:ISBN
758:OCLC
748:ISBN
720:OCLC
710:ISBN
676:and
664:OCLC
641:OCLC
606:OCLC
541:2014
441:2014
371:OCLC
329:and
285:turn
267:/ =
230:Love
3120:154
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1509:L–Z
1504:A–K
315:end
283:or
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