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SONNET 33 PARAPHRASE ANALYSIS Flatter...Sovereign Eye. (2): the Sun Here Is Compared to a King Or Queen

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SONNET 33 PARAPHRASE ANALYSIS Flatter...Sovereign Eye. (2): the Sun Here Is Compared to a King Or Queen SONNET 33 PARAPHRASE Full many a glorious morning have Many times I have seen a glorious I seen morning Flatter the mountain-tops with Light up the mountain tops, sovereign eye, Kissing with golden face the Bathe the green meadows in meadows green, golden rays of sunshine, Gilding pale streams with heavenly Color the streams with its heavenly alchemy; magic; Anon permit the basest clouds to And then [the morning] allows the ride darkest clouds to ride With ugly rack on his celestial face, In a mass across the sun's face, And from the forlorn world his And from this sorrowful world the visage hide, sun hides, Stealing unseen to west with this Fleeing to the west unseen while disgrace*: the sky remains overcast; Even so my sun one early morn did Like this, my own sun one morning shine did shine With all triumphant splendor on my With glorious splendour on my brow; face; But out, alack! he was but one hour But, alas, my sun was mine for only mine; an hour; The region cloud hath mask'd him The concealing clouds have from me now. masked him from me now. Yet him for this my love no whit Yet love thinks no less of him for disdaineth; this; Suns of the world may stain when If the sun in heaven can be heaven's sun staineth. overcast, so can the suns in the world below. ANALYSIS Flatter...sovereign eye. (2): The sun here is compared to a king or queen - a monarch's eye is said to "flatter whatever it rests upon" (Dover Wilson, 134). ugly rack (6): i.e., the thick mass of clouds blocking the sun's rays. this disgrace (8): again referring to the cloud mass. _____________ Between the time Shakespeare wrote Sonnet 32 and 33, the poet's entire attitude toward his relationship with his young friend had changed. While he had been focused on his own mortality throughout Sonnets 27-32, now the poet has a new and more pressing dilemma to jar him from his previous obsession. In Sonnets 33-35 the poet makes it clear that he has been deeply hurt by his young friend, who many believe to be the historical Earl of Southampton, Shakespeare's patron. We cannot say what specific wrong-doing prompted such displeasure, although we can assume that the young man had many interests other than the poet, and he may have surrounded himself with other friends (and possibly other lovers), leaving the poet feeling isolated and unwanted. The poet's dislike of his friend's actions are clear from the overall reading, but also from his choice of words: "ugly", "disgrace", "basest", "disdaineth", and "staineth." Moreover, the sun permits the clouds to cover his face as he cowers off to the west, and the direct comparison is made between the sun and the poet's friend in the third stanza. Even though he denies it in the concluding couplet, the poet seems to resent the friend for causing a rift in their relationship. As mentioned, the sonnet does end on a positive note with the poet ready to forgive his friend, content to accept that disappointment in this life is wholly natural. "Two Renaissance commonplaces, the sun-king comparison and the sun-son word play, are put to such good use in the friend's behalf that 'out alack', the emphatic but conventional phrase denoting the speaker's regret, seems no more than a polite formula. The excuse offered in the couplet may be unconvincing in the view of the next two Sonnets, but it is so plausible within the limits of this one that the quatrains seem to exist mainly to provide grounds for it" (Landry, 58). J.D. Wilson argues that you can trace the story of the young man's transgressions by reading the sonnets in this order: 48, 57, 58, 61; 40, 41, 41; 33, 34, 35; 92, 93, 94. ______ References Holden, Anthony. William Shakespeare: His Life and Work. Boston: Little, Brown, 2002. Landry, Hilton. Interpretations in Shakespeare's Sonnets. Berkeley: U of CP, 1964. Lee, Sidney, Sir. A Life of Shakespeare. New York: Macmillan, 1916. Shakespeare, William. Shakespeare's Sonnets. Ed. A.L. Rowse. London: Macmillan, 1964. Shakespeare, William. Shakespeare's Sonnets. Ed. Tucker Brooke. London: Oxford UP: 1936. Shakespeare, William. The Works of Shakespeare. Ed. John Dover Wilson. Cambridge: Cambridge UP, 1969. Smith, Hallett. The Tension of the Lyre. San Marino: Huntington Library, 1981. Spender, Stephen. The Riddle of Shakespeare's Sonnets. New York: Basic Books, 1962. Tucker, T.G. The Sonnets of Shakespeare. Cambridge: UP, 1924. Wright, George Thaddeus. Shakespeare's Metrical Art. Berkeley: University of California Press, 1988. How to Cite this Article http://www.shakespeare-online.com/sonnets/33detail.html Mabillard, Amanda. An Analysis of Shakespeare's Sonnet 33. Shakespeare Online. 2000. (day/month/year you accessed the information) < http://www.shakespeare- online.com/sonnets/33detail.html >. ________ Related Articles Introduction to Shakespeare's Sonnets Shakespearean Sonnet Basics Shakespeare's Sonnets: Q & A Are Shakespeare's Sonnets Autobiographical? Shakespeare's Greatest Love Poem The Order of the Sonnets The Date of the Sonnets Who was Mr. W. H.? Are all the Sonnets addressed to two Persons? Who was The Rival Poet? Shakespearean Wedding Readings Shakespeare on Love Words Shakespeare Invented Reasons Behind Shakespeare's Influence Shakespeare's Blank Verse Daily Life in Shakespeare's London What did Shakespeare drink? What did Shakespeare look like? Shakespeare's Language 2----http://www.cummingsstudyguides.net/xsonnetanalysis.html#33 This sonnet is a metaphor that compares the young man to the sun. In the morning the sun turns its “sovereign eye” (light) on the mountaintops, then on the green meadows and streams. (In other words, when all is well between the poet and the young man, everything is cheerful and bright.) However, dark clouds come between the sun and the earth (just as a barrier–perhaps a disagreement–has apparently come between the two men). Then, obscured by the clouds, the sun continues on its daily journey across the sky. Nevertheless, the poet says, he will not diminish his love and admiration for the young man. After all, the last two lines say, human relationships cloud over from time to time just as the sky does. The implication here is that the clouds will eventually move on and the sun will shine again. .......The word flatter in the second line could indicate that the poet–despite the forgiving attitude he mentions in Line 13–may be a bit peeved. In most dictionaries, one of the definitions for flattery is insincere praise. Thus, it could be that Shakespeare is chiding the young man for giving perfunctory, artificial praise, then returning to his “celestial orbit” and remaining there. .......In the fifth line, basest clouds appears to refer to despicable persons or regrettable circumstances that estranged the two men. 3-http://www.gradesaver.com/shakespeares-sonnets/study- guide/section27/ Sonnet 33 - "Full many a glorious morning have I seen" What's he saying? "Full many a glorious morning have I seen / Flatter the mountain tops with sovereign eye," I have seen many beautiful mornings make the mountains look more beautiful than they are, "Kissing with golden face the meadows green, / Gilding pale streams with heavenly alchemy;" Making the green meadows and the pale streams appear gold; "Anon permit the basest clouds to ride / With ugly rack on his celestial face," But soon ugly clouds overtake the sky, "And from the forlorn world his visage hide, / Stealing unseen to west with this disgrace:" Hiding the sky as morning becomes night: "Even so my sun one early morn did shine, / With all triumphant splendour on my brow;" In this way, the fair lord used to bless me with his presence; "But out, alack, he was but one hour mine, / The region cloud hath mask'd him from me now." But that was only for a short time, and now he is gone. "Yet him for this my love no whit disdaineth; / Suns of the world may stain when heaven's sun staineth." But that does not weaken my love for him one bit, since if the sun in the sky can sometimes be overcast, so can my beloved. Why is he saying it? While the poet has been focused on his own mortality in Sonnets 27-32, in Sonnet 33 it is clear that his attitude toward the fair lord has changed drastically. The fair lord has rejected the speaker, and the speaker's negative attitude is conveyed through his choice of diction. He uses the words "ugly" and "basest," in stark contrast to the beautiful, heavenly character he has created of the fair lord in previous sonnets. This focus on being hurt by the fair lord is extended through Sonnets 34 and 35, as well. The morning is personified as a king in the first four lines of Sonnet 33. The use of the word "sovereign" calls a ruler to mind, as well as the term "flatter;" however, if the sun is the king and the mountains his courtiers, the role of flattery has been reversed. The morning and the sun become the same character through the term "sovereign eye;" the sun is like the eye of the sky, and through the idea of "kissing," which the sun seems to do to the meadows. Imagery of alchemy pervades this sonnet; alchemy was perceived to be part science, part magic, and involved turning base metals into gold. It involved trickery, and thus is fitting for describing the betrayal by the fair lord that the poet feels he has suffered.
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