Ellen Smith
Miramar College
30 October 2007
 
“Sonnet 29”
     William Shakespeare’s twenty-ninth sonnet follows the typical structure of other Shakespearean sonnets, organized with three quatrains and a final couplet.  Using the rhythm of iambic pentameter, this sonnet follows an abab, cdcd, efef, gg rhyme scheme.  The sonnet is atypical of other Shakespearean sonnets as it uses emotion rather than vivid imagery and rich metaphors seen in other sonnets. 
     The first two quatrains are introspective and emotional with the speaker lamenting his plight and wishing he had the fortune, appearance, hope, friends, and talents of other men.  It is not until the third quatrain that a metaphor even appears.  The speaker almost hates himself for his thoughts of inferiority to other men, until by chance, his thoughts shift to his love.  Thinking of his love, the speaker transforms into a sweet songbird rising up to heaven and singing its praises.  In this quatrain, all the depressed thoughts of the first two quatrains fade away.  Suddenly the speaker, who coveted others in the first two quatrains, feels so rich that he would not swap places with a king. 
          When in disgrace with fortune and men's eyes, (a)
          I all alone beweep my outcast state, (b)
          And trouble deaf Heaven with my bootless cries, (a)
          And look upon myself, and curse my fate, (b)

In the first quatrain, the speaker talks of disgrace in his fortune and in the eyes of others.  He is an outcast, alone and weeping “my outcast state”.  He cries out to Heaven of his troubles, but Heaven is deaf to his cries and does nothing.  The adjective bootless in “bootless cries” means that his cries are useless and are to no avail.  He looks at himself and curses his fate.  This quatrain sets the stage of a man alone, depressed, thinking of his life, and finding no hope within him or from heaven. 

          Wishing me like to one more rich in hope, (c)
          Featur'd like him, like him with friends possess'd, (d)
          Desiring this man's art, and that man's scope, (c)
          With what I most enjoy contented least: (d)
In the second quatrain, Shakespeare takes the inward thoughts and looks outward with coveting eyes.  He wishes he could be a different man, “more rich in hope”, with good features or appearance like another man, or with the friends of a third man.  He is wistful of “this man’s art” referring to another’s skills or trade, and “that man’s scope” referring to another man’s role or opportunities.  This is the classic concept of looking at everyone around you seeing greener grass in the lawn’s of others and not their troubles.      

          Yet in these thoughts myself almost despising, (e)
          Haply I think on thee,--and then my state (f)
          (Like to the lark at break of day arising (e)
          From sullen earth) sings hymns at heaven's gate; (f)

In the third quatrain, the speaker reflects on his thoughts almost hates himself, “myself almost despising” until by happenstance, he thinks of his love.  “Haply I think on thee, -- and then….”  Suddenly, the metaphor of a songbird brings the speaker alive.  He is like a lark at daybreak, rising up from the sad earth all the way to heaven’s gate and singing hymns of praise.  This vibrant metaphor is in sharp contrast to the image of a quiet and sad man alone in the first two quatrains.
          For thy sweet love remember'd such wealth brings
          That then I scorn to change my state with kings.

In the final couplet, Shakespeare masterfully closes this sonnet.  Remembering his love makes him feel rich not disgraced.  He forgets his wishful hopes and lamentations of his misfortune.  Suddenly satisfied with his life, he no longer covets the things he sees in other men.  He would “scorn to change my state with kings,” saying that only with contempt would he change his place with a king.  The sharp contrast in this sonnet makes the remembrance of his sweet love and the “wealth” it provides that much more powerful.  Shakespeare’s technique of withholding the vivid imagery early in the sonnet and introducing it so vibrantly in the last quatrain provides the dramatic impact needed to show how wonderful his love truly is.
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