Shakespeare’s Sonnet 21 is a profound and thought-provoking reflection on the nature of love, beauty, and poetry. In this sonnet, Shakespeare contrasts his own approach to writing poetry with that of other poets who lavish praise on exaggerated and often artificial notions of beauty. Rather than engaging in hyperbole, the speaker chooses a more grounded and honest expression of love, which, in its sincerity, becomes its own form of greatness. The sonnet reveals both a critique of conventional poetic tradition and an assertion of the speaker’s own authentic emotions.
Shakespeare’s Sonnet 21
So is it not with me as with that muse
Stirred by a painted beauty to his verse,
Who heaven itself for ornament doth use
4And every fair with his fair doth rehearse,
Making a couplement of proud compare
With sun and moon, with earth and sea’s rich gems,
With April’s firstborn flowers and all things rare
8That heaven’s air in this huge rondure hems.
O, let me, true in love, but truly write,
And then believe me, my love is as fair
As any mother’s child, though not so bright
12As those gold candles fixed in heaven’s air.
Let them say more that like of hearsay well;
I will not praise that purpose not to sell.
Structure and Tone of Sonnet 21
Sonnet 21 is structured as a Shakespearean or English sonnet, composed of three quatrains followed by a rhymed couplet. This traditional structure gives the poem a measured and formal feel, but Shakespeare subverts the expectations of this form by taking a more direct, honest approach in his thematic content. The meter is iambic pentameter, and the rhyme scheme is ABAB CDCD EFEF GG, which is consistent with the typical Shakespearean sonnet.
The tone of the poem can be described as reflective, yet somewhat dismissive of other poets’ attempts to elevate beauty through exaggerated metaphor. The speaker adopts a self-assured tone, expressing a quiet confidence in the authenticity of his own feelings. There is also a sense of criticism toward those who rely on extravagant comparisons and idealizations. Rather than seeking to compete in the realm of superficial beauty, the speaker seeks to value his love on its own terms.
Analysis of Sonnet 21
Lines 1–4: The Critique of Conventional Poetry
“So is it not with me as with that muse
Stirred by a painted beauty to his verse,
Who heaven itself for ornament doth use
And every fair with his fair doth rehearse.”
In these opening lines, the speaker begins by distinguishing his own poetic approach from that of other poets. He asserts that he does not, like those poets who “are stirred by a painted beauty,” rely on exaggerated or artificial descriptions of beauty. The phrase “painted beauty” evokes the idea of something manufactured, lacking in authenticity. The reference to “heaven itself for ornament” suggests that poets of this kind use grandiose and celestial imagery—such as the heavens and stars—merely to adorn their descriptions. For Shakespeare, such comparisons are not just artificial but also trite, as they have become overused in poetic tradition.
By highlighting the contrast between his own approach and the conventional one, the speaker begins to establish a preference for authenticity over artifice.
Lines 5–8: The Excessive Comparisons to Nature
“Making a couplement of proud compare
With sun and moon, with earth and sea’s rich gems,
With April’s firstborn flowers and all things rare
That heaven’s air in this huge rondure hems.”
In these lines, Shakespeare offers a list of some of the most common, exaggerated comparisons used in poetry: the sun and moon, the earth and sea’s “rich gems,” and the rare beauty of nature, including “April’s firstborn flowers.” The reference to “heaven’s air” and the “huge rondure” (meaning the vast circle or enclosure of the heavens) evokes a sense of the poet inflating beauty to cosmic proportions. This creates a sense of grandeur, but also one of distance and inaccessibility. By invoking these images, the poet is trying to convey the idea that beauty is everywhere and infinite, yet the speaker finds such a comparison empty and detached from reality.
Shakespeare, through the use of the word “proud,” underscores that these comparisons are not just excessive, but boastful—suggesting that they are meant to elevate the subject at the expense of true feeling.
Lines 9–12: The Call for Authenticity in Love
“O, let me, true in love, but truly write,
And then believe me, my love is as fair
As any mother’s child, though not so bright
As those gold candles fixed in heaven’s air.”
Shakespeare now shifts the focus of the sonnet to his own approach to love. He desires to write truthfully and sincerely, grounded in his real feelings, rather than resorting to fantastical imagery. The line “my love is as fair / As any mother’s child” is significant in that it emphasizes the natural, human beauty of the beloved. Rather than comparing the lover to celestial bodies, the speaker chooses a more grounded comparison—acknowledging that while the beloved may not be as “bright” as the stars, their beauty is still of great value.
The use of “gold candles fixed in heaven’s air” is an image of idealized, distant beauty, which contrasts sharply with the more realistic and earthy beauty of the speaker’s love. The phrase “not so bright” suggests that the speaker does not need to inflate the beloved’s beauty in a grand, unrealistic manner to feel that it is worthy of praise.
Lines 13–14: Final Defiance and Rejection of Conventional Praise
“Let them say more that like of hearsay well;
I will not praise that purpose not to sell.”
In the concluding couplet, Shakespeare adopts a defiant tone, rejecting the conventions of flattery and empty praise. The phrase “Let them say more that like of hearsay well” suggests that those who enjoy superficial, unearned praise may continue in their ways, but the speaker will not partake in that kind of praise. The final line, “I will not praise that purpose not to sell,” further clarifies the speaker’s position: he will not engage in poetry or praise that is motivated by commercial or personal gain. For Shakespeare, true love and beauty cannot be “sold” or commodified through grandiose, empty praise; they must be cherished for their authenticity.
Conclusion
Sonnet 21 stands out in Shakespeare’s collection for its clear rejection of traditional poetic ornamentation. By examining the difference between shallow and authentic expressions of beauty, Shakespeare provides a critique of poetic conventions that prioritize external, exaggerated descriptions of love and beauty. The speaker chooses instead to express a more honest and grounded affection, one that does not need celestial comparisons or overblown metaphors to be meaningful. In doing so, Shakespeare invites readers to reconsider the value of poetry that prioritizes genuine feeling over artifice, and by extension, the value of love that is untainted by the pressures of societal expectations. The sincerity in Shakespeare’s approach is ultimately what makes his expression of love so enduring.
