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The pattern of rhymes used in a poem, usually marked by letters to symbolize correspondences, as rhyme royal, ababbcc.
The speaker is overcome with self-love. He is so infatuated with his beauty, it is a sin that cannot be removed. Furthermore, his face is so gracious, no other could possibly surpass it, yet all he sees in the mirror is cracked aged skin. He admits that this self-love is a sin. However, he realizes that instead of self-love, it is love for his youthful lady. As they are lovers, their souls intertwine, and whatever beauty he sees in her, he sees in him as well.
Eye a
Part b
Remedy a
Heart b
Mine c
Account d
Define c
Surmount d
Indeed e
Antiquity f
Read e
Iniquity f
Praise g
Days g
The rhymes emphasize that the eye remedies because the part of the heart is mine and it defines by this account and so this will surmount and indeed I do read that antiquity is iniquity so I praise those days. In each quatrain Shakespeare uses rhymes to further reinforce the meaning that the superficial part of the body deteriorating which is not going to affect the person who's heart and eye sees the true beauty .
The sin of self-love controls everything I see, and my entire soul, and every part of me. There’s no way to get rid of this sin, it’s so deeply rooted in my heart. I think that no one’s face is as gracious as mine, no body so evenly proportioned, no one’s integrity of such high worth. I calculate my value such that I surpass everybody else in everything. But when my mirror shows me how I really look, beaten and cracked by age and the sun, I come to an opposite conclusion: For myself to love myself so much would be a sinful error. It’s you I’m praising when I praise myself, ornamenting my old age with the beauty of your youth.
Sin of self-love possesseth all mine eye
And all my soul, and all my every part;
And for this sin there is no remedy,
It is so grounded inward in my heart.
Methinks no face so gracious is as mine,
No shape so true, no truth of such account;
And for myself mine own worth do define,
As I all other in all worths surmount.
But when my glass shows me myself indeed
Beated and chopp'd with tanned antiquity,
Mine own self-love quite contrary I read;
Self so self-loving were iniquity.
'Tis thee, myself, that for myself I praise,
Painting my age with beauty of thy days.
This sonnet, as the rest of Shakespeare’s sonnets, was published in the early 1600s. Around this time was the Renaissance and the revival of classic literature. Shakespeare was one of the most compelling Elizabethan (Renaissance) writers, ranging from his poems to his plays that revolutionized theaters and its audience forever. The themes in Shakespeare’s sonnets range from love, lust, beauty, mortality/immortality, and death. Apart from that, most Elizabethan artists focused on humanistic values, which in essence revolved around self-truth and individual human emotions. Sonnet 62 is a perfect example of Elizabethan literature as it envelops humanistic values of individuality and self-truth through the speaker's self-love.
--Love unites two entities in one
Though the speaker at the beginning sounds self-centered, he realizes that he’s disgusting. He is “beated [and] chopp’d.” His skin is old and “tanned with iniquity” like an old piece of leather dried up and wrinkled. In the couplet, however, he reveals that the beauty he sees in himself is rather the beauty in loving his lady. The reader witnesses the bond between lovers as the speaker admits “’Tis thee, myself” as though he and his lover are one and the same person. As lovers, their souls are intertwined. Therefore, whatever beauty he sees in her, he sees in himself as well, and while he’s praising his assets, he’s actually praising her.
--Love transpires into beauty
The speaker has “self-love” for all of his body. Because of this tremendous egotistic “self-love,” the speaker is deluded that he is physically beautiful. The speaker even believes that “no face so gracious is as [his].”
Towards the end, the speaker admits that it is not self-love that overcomes him. The beauty he speaks of is derived from the romance from his lover. “’Tis thee … that for myself I praise” Not only is his lover beautiful for her youth, she is beautiful as she is loved.
--The significance of superficial beauty.
Sin / OF / self- / LOVE / pos / SES / seth / ALL / mine / EYE
10 syllables per line
Has short/long/short/long … syllable sound
Syllables are alternating unstressed and stressed
Sounds more dramatic and formal than regular prose
Creates a sense of rhythm; excites the reader’s senses
Mimics the rhythm of heart
Diction:
--"Sin," "no remedy," "iniquity" emphasizes the crime in self-love, but
at the same time shows how deeply rooted the speaker is in himself.
--The numerous use of possessive pronouns like "me," "mine," "myself"
further shows the self-centered character of the speaker.
--The use of "Methinks" rather than "I think" provides not only a more dramatic effect but also that sense of self-centeredness. Plus it has the word"me" in it.
Figurative Language:
-Personification:
- "But when my glass shows me myself indeed Beated and chopp'd with tann'd antiquity"
- "Painting my age"
-"face so gracious"
The poet is "painting" an image that helps the reader understand that even though his "face is gracious" his skin is old and “tanned with iniquity” is like an old piece of leather dried up and wrinkled.