Some lovers speak, when they their muses entertain (VI)

Some louers speake, when they their Muses entertaine,
Of hopes begot by feare, of wot not what desires,
Of force of heau'nly beames infusing hellish paine,
Of liuing deaths, dere wounds, faire storms, and freesing fires:

Some one his song in Ioue and Ioues strange tales attires,
Bordred with buls and swans, powdred with golden raine:
Another, humbler wit, to shepherds pipe retires,
Yet hiding royall bloud full oft in rurall vaine.

To some a sweetest plaint a sweetest stile affords:
While teares poure out his inke, and sighes breathe out his words,

His paper pale despaire, and pain his pen doth moue.
I can speake what I feele, and feele as much as they,
But thinke that all the map of my state I display
When trembling voyce brings forth, that I do Stella loue.

-----

Some lovers speak, when they their muses entertain
Of hopes begot by fear, of wot not what desires,
Of force of heav'nly beams infusing hellish pain,
Of living deaths, dear wounds, fair storms, and freezing fires;

Someone his song in Jove and Jove's strange tales attires,
Bordered with bulls and swans, powdered with golden rain;
Another humbler wit to shepherd's pipe retires,
Yet hiding royal blood full oft in rural vein;

To some a sweetest plaint a sweetest style affords,
While tears pour out his ink, and sighs breathe out his words,

His paper pale despair, and pain his pen doth move.
I can speak what I feel, and feel as much as they,
But think that all the map of my state I display
When trembling voice brings forth that I do Stella love.

From Astrophel and Stella (1591)
Sir Philip Sidney (1554-1586)

http://www.shakespeare-online.com/index.html

Shakespeare's Sonnets

The Shakespearean sonnet, the form of sonnet utilized throughout Shakespeare's sequence, is divided into four parts. The first three parts are each four lines long, and are known as quatrains, rhymed ABAB; the fourth part is called the couplet, and is rhymed CC. The Shakespearean sonnet is often used to develop a sequence of metaphors or ideas, one in each quatrain, while the couplet offers either a summary or a new take on the preceding images or ideas. In Shakespeare's Sonnet 147, for instance, the speaker's love is compared to a disease. In the first quatrain, the speaker characterizes the disease; in the second, he describes the relationship of his love-disease to its "physician," his reason; in the third, he describes the consequences of his abandonment of reason; and in the couplet, he explains the source of his mad, diseased love--his lover's betrayal of his faith:

My love is as a fever, longing still
For that which longer nurseth the disease,
Feeding on that which doth preserve the ill,
The uncertain sickly appetite to please.

My reason, the physician to my love,
Angry that his prescriptions are not kept,
Hath left me, and I desp'rate now approve
Desire is death, which physic did except.

Past cure am I, now reason is past care,
And frantic mad with evermore unrest,
My thoughts and my discourse as madmen's are,
At random from the truth vainly expressed;

For I have sworn thee fair and thought thee bright,
Who art as black as hell, as dark as night.

In many ways, Shakespeare's use of the sonnet form is richer and more complex than this relatively simple division into parts might imply. Not only is his sequence largely occupied with subverting the traditional themes of love sonnets--the traditional love poems in praise of beauty and worth, for instance, are written to a man, while the love poems to a woman are almost all as bitter and negative as Sonnet 147--he also combines formal patterns with daring and innovation. Many of his sonnets in the sequence, for instance, impose the thematic pattern of a Petrarchan sonnet onto the formal pattern of a Shakespearean sonnet, so that while there are still three quatrains and a couplet, the first two quatrains might ask a single question, which the third quatrain and the couplet will answer. As you read through Shakespeare's sequence, think about the ways Shakespeare's themes are affected by and tailored to the sonnet form. Be especially alert to complexities such as the juxtaposition of Petrarchan and Shakespearean patterns. How might such a juxtaposition combination deepen and enrich Shakespeare's use of a traditional form?