William Shakespeare’s Sonnet 58 is a poem that explores themes of servitude, suffering, and self-restraint in the context of unrequited love. The speaker in this sonnet finds himself in a subjugated, yet patient, position before a beloved whose whims and pleasures dictate the course of their interactions. This sonnet, in its elegant structure and compelling argument, offers an exploration of love’s complexities, its demands, and the emotional toll it can take on an individual.
Shakespeare’s Sonnet 58
That god forbid, that made me first your slave,
I should in thought control your times of pleasure,
Or at your hand th’ account of hours to crave,
Being your vassal bound to stay your leisure.
O, let me suffer, being at your beck,
Th’ imprisoned absence of your liberty,
And patience, tame to sufferance, bide each check
Without accusing you of injury.
Be where you list, your charter is so strong
That you yourself may privilege your time
To what you will; to you it doth belong
Yourself to pardon of self-doing crime.
I am to wait, though waiting so be hell,
Not blame your pleasure, be it ill or well.
The Structure and Tone of Sonnet 58
Sonnet 58 follows the typical Shakespearean sonnet form, consisting of 14 lines written in iambic pentameter, with the rhyme scheme ABABCDCDEFEFGG. The sonnet is divided into three quatrains and a concluding couplet. Shakespeare’s use of rhyme and meter gives the poem a musical quality, creating a rhythm that reflects the internal struggle of the speaker.
The tone of the sonnet is one of resigned patience and humility. The speaker accepts his role as the “slave” of his beloved and willingly submits to his suffering. However, beneath the surface of resignation, there is an underlying tension, a subtle bitterness that arises from the unfairness of the situation. While the speaker acknowledges his subjugation, he does not fully condone the dynamic of power that his beloved holds over him. Thus, the tone oscillates between devotion and quiet frustration.
Analysis of Sonnet 58
Lines 1–4
That god forbid, that made me first your slave,
I should in thought control your times of pleasure,
Or at your hand th’ account of hours to crave,
Being your vassal bound to stay your leisure.
In the opening quatrain, the speaker expresses a deep sense of helplessness and subjugation. The phrase “god forbid” suggests that the speaker is almost pleading with fate, hoping that he would not be put in the position of controlling or interfering with his beloved’s pleasures. The term “slave” sets the tone for the speaker’s position as someone who is entirely at the mercy of another, not even permitted to control the time of his beloved’s leisure. The use of “vassal” reinforces this idea of servitude. The speaker acknowledges that his role is to wait for his beloved’s pleasure, and this power imbalance highlights the asymmetry in their relationship. The speaker’s suffering is, in a sense, ordained by a higher power, and he can only remain bound to the whims of his lover.
Lines 5–8
O, let me suffer, being at your beck,
Th’ imprisoned absence of your liberty,
And patience, tame to sufferance, bide each check
Without accusing you of injury.
In these lines, the speaker grants permission for his own suffering, reflecting an almost masochistic acceptance of his fate. The phrase “being at your beck” suggests that the speaker is entirely at his beloved’s disposal, as though his every action is subject to the beloved’s command. The term “imprisoned absence” conveys the paradox of the speaker’s situation: he suffers from the lack of liberty, yet his suffering is self-imposed, as he has willingly subjected himself to it. “Patience, tame to sufferance” highlights the speaker’s stoic endurance; he has learned to bear the emotional pain without protest. The line “without accusing you of injury” shows the speaker’s commitment to not blaming the beloved for the pain he is enduring. This reinforces the power imbalance in the relationship, where the speaker submits willingly and without resentment, even though the situation causes him harm.
Lines 9–12
Be where you list, your charter is so strong
That you yourself may privilege your time
To what you will; to you it doth belong
Yourself to pardon of self-doing crime.
In these lines, the speaker acknowledges the strength of his beloved’s autonomy. “Be where you list” indicates that the beloved is free to do as they wish, with no constraints on their actions. The “charter” is metaphorical, referring to the power or privilege that the beloved holds over their own time and choices. The speaker even grants permission for the beloved to indulge in self-pardon, despite the “self-doing crime” of exercising such dominance over another. The phrase “self-doing crime” implies a moral dilemma: while the beloved’s actions may be selfish or unfair, the speaker acknowledges that the power to act in such a manner belongs solely to them. There is an implicit acceptance here that the speaker cannot change the dynamics of the relationship, despite its inherent imbalance.
Lines 13–14 (The Couplet)
I am to wait, though waiting so be hell,
Not blame your pleasure, be it ill or well.
The final couplet brings the speaker’s suffering into sharper focus. The speaker expresses that he is resigned to waiting, even though this waiting is as painful as “hell.” This metaphor not only communicates the intensity of the speaker’s emotional turmoil but also the eternal nature of the suffering he endures. Yet, the speaker remains magnanimous in his suffering, refusing to blame his beloved’s actions or pleasures, regardless of whether they cause harm or joy. This final line emphasizes the speaker’s unconditional acceptance of his role and the inherent tragedy of his position.
Conclusion
Shakespeare’s Sonnet 58 presents a profound exploration of the dynamics of love, power, and suffering. The speaker’s willingness to endure his own suffering without accusation or resentment suggests a deep, albeit painful, devotion. Through careful attention to language, imagery, and structure, Shakespeare crafts a narrative that speaks to the complexities of emotional subjugation, the agony of waiting, and the paradoxical pleasure of surrendering to one’s feelings of love, even when it brings suffering. The poem stands as a poignant reflection on the nature of love’s power and the personal cost of devotion.
