140610: Jeg læser til eksamen i mundtlig engelsk (Shakespeare!)
Jeg sidder og læser til eksamen i mundtlig eksamen, og så tænkte jeg, at jeg ligeså godt kunne dele de to sonetter af William Shakespeare som vi har læst i undervisningen. Jeg kendte ikke til dem før, og det kan være, at nogen af jer har det på samme måde, så jeg lægger dem lige ud her:
Shall I compare thee to a summer’s day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer’s lease hath all too short a date:
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimmed,
And every fair from fair sometime declines,
By chance, or nature’s changing course untrimmed:
But thy eternal summer shall not fade,
Nor lose possession of that fair thou ow’st,
Nor shall death brag thou wander’st in his shade,
When in eternal lines to time thou grow’st,
So long as men can breathe, or eyes can see,
So long lives this, and this gives life to thee.
På denne side: http://www.shakespeares-sonnets.com/sonnet/18 fandt jeg følgende omtale af sonetten:
This is one of the most famous of all the sonnets, justifiably so. But it would be a mistake to take it entirely in isolation, for it links in with so many of the other sonnets through the themes of the descriptive power of verse; the ability of the poet to depict the fair youth adequately, or not; and the immortality conveyed through being hymned in these ‘eternal lines’. It is noticeable that here the poet is full of confidence that his verse will live as long as there are people drawing breath upon the earth, whereas later he apologises for his poor wit and his humble lines which are inadequate to encompass all the youth’s excellence. Now, perhaps in the early days of his love, there is no such self-doubt and the eternal summer of the youth is preserved forever in the poet’s lines. The poem also works at a rather curious level of achieving its objective through dispraise. The summer’s day is found to be lacking in so many respects (too short, too hot, too rough, sometimes too dingy), but curiously enough one is left with the abiding impression that ‘the lovely boy’ is in fact like a summer’s day at its best, fair, warm, sunny, temperate, one of the darling buds of May, and that all his beauty has been wonderfully highlighted by the comparison.
Let me not to the marriage of true minds
Admit impediments. Love is not love
Which alters when it alteration finds,
Or bends with the remover to remove:
O, no! it is an ever-fixed mark,
That looks on tempests and is never shaken;
It is the star to every wandering bark,
Whose worth’s unknown, although his height be taken.
Love’s not Time’s fool, though rosy lips and cheeks
Within his bending sickle’s compass come;
Love alters not with his brief hours and weeks,
But bears it out even to the edge of doom.
If this be error and upon me proved,
I never writ, nor no man ever loved.
Og fra samme side: http://www.shakespeares-sonnets.com/sonnet/116
Although in former times this sonnet was almost universally read as a paean to ideal and eternal love, with which all readers could easily identify, adding their own dream of perfection to what they found within it, modern criticism makes it possible to look beneath the idealism and to see some hints of a world which is perhaps slightly more disturbed than the poet pretends. In the first place it is important to see that the sonnet belongs in this place, sandwiched between three which discuss the philosophical question of how love deceives both eye and mind and judgement, and is then followed by four others which attempt to excuse the poet’s own unfaithfulness and betrayal of the beloved. Set in such a context it does of course make it appear even more like a battered sea-mark which nevetheless rises above the waves of destruction, for it confronts all the vicissitudes that have afflicted the course of the love described in these sonnets, and declares that, in the final analysis, they are of no account.
In addition, despite the idealism, there is an undercurrent of subversion which permeates all. It is ironic that a poem as famous as this should be seized on by the establishment as a declaration of their view of what love should be. Does the establishment view take account of the fact that this is a love poem written by a man to another man, and that the one impediment to their marriage is precisely that, for no church of the time, or scarcely even today, permits a man to marry a man? It is useless to object that Shakespeare is here talking of the marriage of true minds, for the language inevitably draws us to the Christain marriage service and its accompanying ceremonies, and that is a ceremony designed specifically to marry two people, not two abstract Platonic ideals which have decided to be wed. It is almost as if the exclamation ‘Oh No!’ in the second quatrain is a recognition of this one great impediment that overhangs all others ‘and all alone stands hugely politic’. (SB notes that the exclamation presents, among other things, ‘a logically incidental example of a suitable prefatory exclamation introducing an impediment volunteered by a parishioner responding to the injunction in the marriage service’).
Of course it is partly due to the slow process of being drawn into the sonnets, with their continuous change and varying cycles of elation and depression, that the view is gradually inculcated into one’s soul that this is a history of love which anyone might have known, a mortal and immortal love such as any two lovers in the tide of times might have experienced, or might even be experiencing now. We tend to forget that it is also an unconventional love, even more unconventional in the Elizabethan world than it is today. But it is precisely this unconventionality that gives to the sonnets their subversive tone, and it is that tone which forces us, not so much to be on the defensive, but to question more profoundly what we mean by the word love. What is that strange attraction which draws two minds so irresistibly together? Must we classify or restrict it? Does it depend on time, or place, on beliefs, on the sex of the lovers, on the Church, or politics, life, death, change, removal, doom, eternity, the day of judgement? Or on none of these? Is human love an allegory of divine love? Or should one prefer instead the all too human conclusion of W. H. Auden:
I thought that love would last forever. I was wrong.
HV reads this sonnet as a direct refutal of the young man’s cynically declared view of love in which change and betrayal are expected and necessary and truth is of no importance. HV 488-93.
SB gives a very detailed analysis of the many possible reactions to the nuances and suggestiveness of the language and tries to show how our minds respond to the ideal of love depicted, even though we gradually become aware of the hidden counter suggestions. SB. 387-92
All but one of the extant copies of Q give the number of this sonnet, incorrectly, as 119. See SB. p.384.
10. juni 2014 kl. 18:52