Shakespeare Sonnet 55 Essay Examples



Not marble, nor the gilded monuments (1): This line is likely an allusion to the lavish tombs of English royalty; in particular, to the tomb of Henry VII in Westminster Abbey, which contains a large sarcophagus made of black marble with gilded effigies of King Henry and his queen, Elizabeth of York.

unswept (4): note that the pronunciation here is /UN swept/.

with sluttish time (4): i.e., by filthy time.
In Elizabethan England the word "sluttish" could describe either a sexually promiscuous woman or a grubby, unkempt woman. Here Shakespeare personifies Time as the latter.

broils (7): angry, violent quarrels or riots.

all-oblivious enmity (9): i.e., the war and decay that would render the subject of the poem forgotten.

Sonnet 55 is one of Shakespeare's most famous works and a noticeable deviation from other sonnets in which he appears insecure about his relationships and his own self-worth. Here we find an impassioned burst of confidence as the poet claims to have the power to keep his friend's memory alive evermore.

Some critics argue that Shakespeare's sudden swell of pride in his poetry was strictly artificial - a blatant attempt to mimic the style of the classical poets. "It is difficult on any other hypothesis to reconcile the inflated egotism of such a one as 55 with the unassuming dedications to the Venus and Lucrece, 1593 and 1594, or with the expressions of humility found in the sonnets themselves, e.g. 32 and 38" (Halliwell-Phillipps, 304).

However, many believe that such an analysis ignores Shakespeare's paramount desire to immortalize his friend in verse, and not himself (as was the motive of most classical poets). "The Romans say: Because of my poem I will never die. Shakespeare says: Because of my poem you will never die....What distinguishes Shakespeare is that he values the identity of the beloved; he recognizes that the beloved has his own personal immortality, in no way dependent on poetry" (Martin, 158).

By focusing on the word live, Shakespeare uses the language itself to emphasize his authorial intentions. Notice the word choices of outlive (2), living (8), oblivious (9), and live (14).

Despite its tremendous popularity, Sonnet 55 has its detractors. One of the most interesting attacks on the sonnet came from a critic named H. T. S. Forrest, who despised the poem and, in particular, lines 10-14. These lines, he wrote, are
slovenly, far-fetched, and tautologous verses which would be mercilessly criticized if they appeared as the handiwork of the minutest of the minor poets of today. Why "even"? To talk of printed matter "finding room" in people's eyes is not a little ridiculous. In line 11 the poet's verses are going to be looked upon by the whole of posterity, but in line 14 only by the 'lovers' section thereof. And line 13 is hopelessly ungrammatical, even if we accept Beeching's explanation that that = when (Forrest, 44).

How to cite this article:
Shakespeare, William. Sonnet 55. Ed. Amanda Mabillard. Shakespeare Online. 8 Dec. 2008. < >.

Forrest, H. T. S. The Five Authors of Shakespeare's Sonnets. London: Chapman & Dodd, Ltd., 1923.
Halliwell-Phillipps, J.O. Outlines of the Life of Shakespeare. New York, AMS Press, 1966.
Martin, Philip J. T. Shakespeare's Sonnets: Self, Love and Art. Cambridge: Cambridge UP, 1972.

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Did You Know? ... "Of the countless editions of the works of Shakespeare that show a frontispiece likeness of the poet, it is a singular fact that by far the greater number favour the 'Chandos' portrait. The face and features of Shakespeare as 'imaged' in that portrait are those with which his readers are probably most familiar. It is not easy to account for this, since the Chandos Portrait is certainly not the first in point of genuineness, whatever may be its degree of artistic merit. Possibly it satisfies more fully the popular ideal of the likeness of a great creative poet than does the bust or print just referred to. Be that as it may, the 'Chandos ' portrait, for various reasons, more than justifies its being kept in the custody of the nation as a very rare and valuable relic of its greatest dramatist." Alexander Cargill. Read on....


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Sonnet 55

The first two stanzas of Sonnet 55 in the 1609 Quarto

Not marble, nor the gilded monuments
Of princes, shall outlive this powerful rhyme;
But you shall shine more bright in these contents
Than unswept stone, besmear’d with sluttish time.
When wasteful war shall statues overturn,
And broils root out the work of masonry,
Nor Mars his sword nor war’s quick fire shall burn
The living record of your memory.
’Gainst death and all-oblivious enmity
Shall you pace forth; your praise shall still find room
Even in the eyes of all posterity
That wear this world out to the ending doom.
So, till the judgement that yourself arise,
You live in this, and dwell in lovers’ eyes.

—William Shakespeare[1]

Sonnet 55 is one of the most critically acclaimed of the 154 sonnets written by the English playwright and poet William Shakespeare. It is a member of the Fair Youth sequence.


Sonnet 55 is an English or Shakespearean sonnet. The English sonnet contains three quatrains followed by a final rhyming couplet. It follows the form's typical rhyme scheme, abab cdcd efef gg and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The fifth line exemplifies a regular iambic pentameter:

× / × / × / × / × / When wasteful war shall statues overturn, (55.5)
/ = ictus, a metrically strong syllabic position. × = nonictus.

The meter demands a few variant pronunciations: The final word of line three is stressed conténts, even though it bears the meaning of modern cóntents. In line two "powerful" has two syllables; in line nine "oblivious" has three; in line ten "even" has one.


According to many scholars, sonnet 55 is a poem about time and immortalization. The speaker claims that his beloved will wear out this world to the ending doom. According to Alison Scott, the speaker's poem won't last much compared to his beloved, even though his beloved is immortalised in the poem, adhering to a larger theme of giving and possessing that runs through many of Shakespeare's sonnets.[2] David Kaula, however, emphasizes the concept of time slightly differently. He argues that the sonnet traces the progression of time, from the physical endeavours built by man (monuments, statues, masonry), as well as the primeval notion of warfare depicted through the image of "Mars his sword" and "war's quick fire", to the concept of the Last Judgment. The young man will survive all of these things through the verses of the speaker.[3]

These monuments, statues, and masonry reference both Horace's Odes and Ovid's Metamorphoses. Lars Engle argues that echoing the ancients, as the speaker does when he says "not marble, nor the gilded monuments / Of princes, shall outlive this powerful rhyme;" further solidifies the speaker's claim about the longevity of the written word. However, while Horace and Ovid claim the immortality for themselves, the speaker in sonnet 55 bestows it on another. Engle also claims that this is not the first time Shakespeare references the self-aggrandizement of royals and rulers by saying that poetry will outlive them. He frequently mentions his own (political) unimportance, which could lead sonnet 55 to be read as a sort of revenge of the socially humble on their oppressors.[4]

While the first quatrain is referential and full of imagery, in the second quatrain Ernest Fontana focuses on the epithet "sluttish time". The Oxford English Dictionary gives "sluttish" two definitions: 1) dirty, careless, slovenly (which can refer to objects and persons of both sexes) and 2) lewd, morally loose, and whorish. According to Fontana, Shakespeare intended the second meaning, personifying and assigning gender to time, making the difference between the young man sonnets and the dark lady sonnets all the more obvious. Shakespeare had used the word "slut" nearly a year before he wrote sonnet 55 when he wrote Timon of Athens. In the play, Timon associates the word "slut" with "whore" and venereal disease. Associating "sluttish" with venereal disease makes Shakespeare's use of the word "besmeared" more specific. Fontana states: "The effect of time, personified as a whore, on the hypothetical stone statue of the young man, is identified in metaphor with the effect of syphilis on the body—the statue will be besmeared, that is, covered, with metaphoric blains, lesions, and scars." (Female) time destroys whereas the male voice of the sonnet is "generative and vivifying".[5]

Helen Vendler expands on the idea of "sluttish time" by examining how the speaker bestows grandeur on entities when they are connected to the beloved but mocks them and associates them with dirtiness when they're connected with something the speaker hates. She begins by addressing the "grand marble" and "gilded" statues and monuments; these are called this way when the speaker compares them to the verse immortalizing the beloved. However, when compared to "sluttish time" they are "unswept stone besmeared". The same technique occurs in the second quatrain. Battle occurs between mortal monuments of princes, conflict is crude and vulgar, "wasteful war" overturns unelaborated statues and "broils" root out masonry. Later in quatrain war becomes "war's quick fire" and "broils" become "Mars his sword". The war is suddenly grand and the foes are emboldened. The blatant contempt with which the speaker regards anything not having to do with the young man, or anything that works against the young man's immortality, raises the adoration of the young man by contrast alone.

Like the other critics, Vendler recognizes the theme of time in this sonnet. She expands on this by arguing that the sonnet revolves around the keyword "live". In quatrain 1, the focus is the word "outlive". In quatrain 2 it's "living"; in quatrain 3 "oblivious", and the couplet focuses on the word "live" itself. However, this raises the question of whether the young man actually continues to live bodily or if only his memory remains. There are references to being alive physically with active phrases like "you shall shine in these contents" and "'gainst death and all oblivious enmity / shall you pace forth", and also to living in memory: "the living record of your memory", and "your praise shall…find room…in the eyes of all posterity". Vendler argues that this question is answered by the couplet when it assigns "real" living to the day of the Last Judgment: "So till the judgment that your self arise / you live in this, and dwell in lovers' eyes."[6]

While researching the First Folios in the Folger Library, Robert Evans came across an epitaph for Shakespeare that was previously unrecorded. The epitaph appears in verse, similar to that of the sonnets, and shows just how highly Shakespeare's contemporaries thought of his work. The lines of the epitaph themselves echo lines from sonnet 55, which bring into thought the ideas of that particular sonnet itself. Through the verses of the sonnet, the young man becomes immortal. Through the verses of the epitaph, as well as the larger context of praise for the dead poet, Shakespeare himself becomes immortal, echoing and reinforcing his very argument in sonnet 55.[7]



Further reading[edit]

First edition and facsimile
Variorum editions
Modern critical editions
  • Atkins, Carl D., ed. (2007). Shakespeare's Sonnets: With Three Hundred Years of Commentary. Madison: Fairleigh Dickinson University Press. ISBN 978-0-8386-4163-7. OCLC 86090499. 
  • Booth, Stephen, ed. (2000) [1st ed. 1977]. Shakespeare's Sonnets (Rev. ed.). New Haven: Yale Nota Bene. ISBN 0-300-01959-9. OCLC 2968040. 
  • Burrow, Colin, ed. (2002). The Complete Sonnets and Poems. The Oxford Shakespeare. Oxford: Oxford University Press. ISBN 978-0192819338. OCLC 48532938. 
  • Duncan-Jones, Katherine, ed. (2010) [1st ed. 1997]. Shakespeare's Sonnets. The Arden Shakespeare, Third Series (Rev. ed.). London: Bloomsbury. ISBN 978-1-4080-1797-5. OCLC 755065951. 
  • Evans, G. Blakemore, ed. (1996). The Sonnets. The New Cambridge Shakespeare. Cambridge: Cambridge University Press. ISBN 978-0521294034. OCLC 32272082. 
  • Kerrigan, John, ed. (1995) [1st ed. 1986]. The Sonnets ; and, A Lover's Complaint. New Penguin Shakespeare (Rev. ed.). Penguin Books. ISBN 0-14-070732-8. OCLC 15018446. 
  • Mowat, Barbara A.; Werstine, Paul, eds. (2006). Shakespeare's Sonnets & Poems. Folger Shakespeare Library. New York: Washington Square Press. ISBN 978-0743273282. OCLC 64594469. 
  • Orgel, Stephen, ed. (2001). The Sonnets. The Pelican Shakespeare (Rev. ed.). New York: Penguin Books. ISBN 978-0140714531. OCLC 46683809. 
  • Vendler, Helen, ed. (1997). The Art of Shakespeare's Sonnets. Cambridge, MA: The Belknap Press of Harvard University Press. ISBN 0-674-63712-7. OCLC 36806589. 
  1. ^Pooler, C[harles] Knox, ed. (1918). The Works of Shakespeare: Sonnets. The Arden Shakespeare [1st series]. London: Methuen & Company. OCLC 4770201. 
  2. ^Scott, Alison. "Hoarding the Treasure and Squandering the Truth: Giving and Possessing in Shakespeare's Sonnets to the Young Man." Studies in Philology, Volume 101, Number 3, Summer 2004, pp. 315-331
  3. ^Kaula, David. "In War With Time: Temporal Perspectives in Shakespeare's Sonnets". Studies in English Literature, 1500-1900. Vol. 3, No. 1, The English Renaissance (Winter, 1963), pp. 45-57. JSTOR Database
  4. ^Engle, Lars. "Afloat in Thick Deeps: Shakespeare's Sonnets on Certainty". PMLA, Vol. 104, No. 5 (Oct., 1989), pp. 832-843. JSTOR Database
  5. ^Fontana, E. "Shakespeare's Sonnet 55." The Explicator v. 45 (Spring 1987) p. 6-8. EBSCO Host Database
  6. ^Vendler, Helen. The Art of Shakespeare's Sonnets. Cambridge: Harvard University Press, 1997. Print.
  7. ^Evans, Robert. "Whome None but Death Could Shake: An Unreported Epitaph on Shakespeare". Shakespeare Quarterly, Vol. 39, No. 1, (Spring, 1988) p. 60. JSTOR Database

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