Sonnet 63 Portrays More Violence

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63 nce more, Shakespeare plunges us O into the future. However, in a Against my love shall be as I am now, subtly dramatic shift, the sonnet is not With time’s injurious hand crushed and o’erworn, addressed to the friend; in fact, the When hours have drained his blood and filled his brow lines are a true soliloquy. No longer is the speaker worried about his friend’s With lines and wrinkles, when his youthful morn marriage and procreation. He is Hath traveled on to age’s steepy night, envisioning a darker time when his And all those beauties whereof now he’s king friend will be as “crushed and Are vanishing, or vanished out of sight, o’erworn” as the speaker is now. (l. 2) Stealing away the treasure of his spring; Time is indeed the villain, and the For such a time do I now fortify imagery is strongly suggestive of Against confounding age’s cruel knife, death--the deaths of both men. The That he shall never cut from memory friend’s waning hours will have My sweet love’s beauty, though my lover’s life. “drained his blood” (l. 3); his beauties His beauty shall in these black lines be seen, will not only be vanishing but “vanished out of sight” (l. 7); age’s And they shall live, and he in them still green. “cruel knife” will be “confounding” (l. 10), a word denoting total destruction. At the close of the poem, that cruel knife will not cut the lover’s beauty from memory but it surely will cut off his life. Just barely, in the couplet, the possibility of survival sneaks through “these black lines” of poetry in which the friend’s beauty will appear as “green.” The threat here, in contrast to the affirmations of Sonnets 60 and 62, almost gets the upper hand over the hopes for immortality. Furthermore, the tone and imagery echoes Sonnet 2 in its fears of forty winters that will “dig deep trenches” in “beauty’s field” (l. 2), but overall Sonnet 63 portrays more violence. The beauty of the friend’s days that caps Sonnet 62 so positively is replaced by his beauties’ vanishing, “stealing away the treasure of his spring.” (l. 8) The brightness of Sonnet 18’s summer’s day is dimmed now. Death has become more imminent. 105 .

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