William Shakespeare’s Sonnet 128, often referred to as “How oft, when thou, my music, music play’st,” is a part of the Fair Youth sequence, where the speaker addresses a young man he admires. The poem expresses the poet’s envy and desire as he describes the interaction between the young man’s fingers and a musical instrument, comparing the wood of the instrument with the speaker’s own lips. As with many of Shakespeare’s sonnets, this one explores themes of love, admiration, and the complexities of human desire. This essay will explore the structure and tone of the poem, followed by a detailed analysis of each quatrain and the concluding couplet.
Shakespeare’s Sonnet 128
How oft, when thou, my music, music play’st
Upon that blessèd wood whose motion sounds
With thy sweet fingers when thou gently sway’st
The wiry concord that mine ear confounds,
Do I envy those jacks that nimble leap
To kiss the tender inward of thy hand,
Whilst my poor lips, which should that harvest reap,
At the wood’s boldness by thee blushing stand.
To be so tickled they would change their state
And situation with those dancing chips,
O’er whom thy fingers walk with gentle gait,
Making dead wood more blest than living lips.
Since saucy jacks so happy are in this,
Give them thy fingers, me thy lips to kiss.
The Structure and Tone of Sonnet 128
Sonnet 128 adheres to the traditional Shakespearean sonnet structure, comprising 14 lines, divided into three quatrains (four-line stanzas) and a final rhymed couplet. The rhyme scheme is ABAB CDCD EFEF GG, a hallmark of Shakespeare’s sonnets. The meter is iambic pentameter, which provides a rhythmic flow to the poem, further amplifying its lyrical and musical qualities. The sonnet’s tone is a mixture of longing, envy, and frustration. The speaker expresses his admiration for the young man’s musical talent, yet he also feels a certain jealousy, especially regarding the young man’s interaction with the instrument—something the speaker desires for himself.
Analysis of Sonnet 128
Lines 1–4
“How oft, when thou, my music, music play’st
Upon that blessèd wood whose motion sounds
With thy sweet fingers when thou gently sway’st
The wiry concord that mine ear confounds,”
In these opening lines, the speaker introduces a recurring event, “how oft,” in which he watches the young man play music. The term “my music” personifies the young man’s musical ability, suggesting that the speaker is so enamored by the sound of his music that it is as if the music belongs to him. The “blessèd wood” is a metaphor for the musical instrument (likely a stringed instrument like a lute or a harp), whose sound is produced by the motion of the young man’s fingers. The speaker emphasizes the delicacy and sweetness of the touch—“sweet fingers” and “gently sway’st”—which highlights the grace and artistry with which the young man plays. The phrase “wiry concord” refers to the harmonious sound produced by the strings, which, to the speaker, is so beautiful that it “confounds” his ear. Here, the speaker’s admiration is both for the sound itself and for the skill with which the young man produces it. This creates a sense of awe that is foundational to the speaker’s emotions throughout the poem.
Lines 5–8
“Do I envy those jacks that nimble leap
To kiss the tender inward of thy hand,
Whilst my poor lips, which should that harvest reap,
At the wood’s boldness by thee blushing stand.”
In these lines, the speaker shifts his focus from the music to the young man’s fingers, specifically those fingers’ interaction with the instrument. The “jacks” mentioned here are small, mechanical devices in musical instruments that assist in plucking the strings. The speaker envies these jacks for their ability to “kiss the tender inward of thy hand”—in other words, the jacks are able to touch the young man’s fingers in a way the speaker himself cannot. The idea of “kissing” evokes sensuality, and it is through this metaphor that the speaker conveys his deep desire for physical closeness to the young man, who, through the music, is simultaneously distant and untouchable.
Meanwhile, the speaker’s own “poor lips” are unable to achieve the same closeness. The lips are associated with speech, expression, and, notably, kissing—an intimate act that the speaker longs for but cannot attain. The lips “stand at the wood’s boldness,” unable to compete with the intimate interaction the young man has with the instrument. The phrase “blushing stand” implies that the speaker is embarrassed or frustrated by his inability to be more than a passive observer.
Lines 9–12
“To be so tickled they would change their state
And situation with those dancing chips,
O’er whom thy fingers walk with gentle gait,
Making dead wood more blest than living lips.”
The speaker continues to express his envy, this time more explicitly. The “dancing chips” are the plectrums or small pieces of the instrument that the young man’s fingers touch and move. The word “tickled” suggests a light, playful interaction, something that induces joy and pleasure. The speaker imagines that if the “dancing chips” were sentient, they would willingly “change their state” and become his lips. He goes so far as to say that the wood (the instrument) is more “blest” than his lips, which are described as “living,” while the wood itself is “dead.” Here, the juxtaposition of life and death serves to underscore the speaker’s frustration and the sense of powerlessness he feels. His lips, which would traditionally be the means of affection and intimacy, are denied the chance to experience the closeness he desires. Meanwhile, the inanimate wood, by virtue of being touched by the young man’s fingers, enjoys a far greater intimacy than the speaker’s own lips.
Lines 13–14
“Since saucy jacks so happy are in this,
Give them thy fingers, me thy lips to kiss.”
In the final couplet, the speaker delivers a direct plea: if the “saucy jacks” (the mechanical devices that interact with the young man’s fingers) are so “happy” in their ability to touch him, the speaker would prefer that the young man give those jacks his fingers and grant him, instead, the pleasure of kissing his lips. This line resolves the tension created throughout the poem, as the speaker explicitly chooses intimacy over admiration. It is a moment of yearning, in which the speaker’s envy transforms into a more direct desire for closeness, which he feels is far more rewarding than simply admiring the young man’s musical skill.
Conclusion
Sonnet 128 stands out as an exploration of the deep, often contradictory emotions that accompany admiration and desire. The speaker’s jealousy toward the musical instrument and the “saucy jacks” reflects a longing for a more intimate connection, a desire not just for the young man’s talent but for his affection. The metaphor of the musical instrument, the comparison between “dead wood” and “living lips,” and the playful imagery of the “dancing chips” all serve to amplify the speaker’s frustration and yearning. Ultimately, Shakespeare’s use of musical imagery and the tension between admiration and desire gives this sonnet a unique emotional depth, capturing the complexity of human love and longing.
