William Shakespeare’s Sonnet 62 is one of his 154 sonnets, and like many of his works, it explores the complexity of self-perception, vanity, and the nature of human identity. The speaker in this poem reflects on the destructive nature of self-love, which pervades not only his thoughts but also his sense of self-worth. However, through a painful realization, he confronts the truth of his own aging and the falsehood of his self-admiration. Shakespeare’s use of rich language, layered metaphors, and formal structure invites an in-depth exploration of the speaker’s inner conflict. The sonnet’s tension lies in the contrast between the speaker’s illusion of self-love and the painful truth revealed through the reflection in a mirror.
Shakespeare’s Sonnet 62
Sin of self-love possesseth all mine eye
And all my soul and all my every part;
And for this sin there is no remedy,
4It is so grounded inward in my heart.
Methinks no face so gracious is as mine,
No shape so true, no truth of such account,
And for myself mine own worth do define
8As I all other in all worths surmount.
But when my glass shows me myself indeed
Beated and chopped with tanned antiquity,
Mine own self-love quite contrary I read;
12Self so self-loving were iniquity.
’Tis thee, myself, that for myself I praise,
Painting my age with beauty of thy days.
The Structure and Tone of Sonnet 62
Sonnet 62 follows the traditional Shakespearean sonnet structure, comprising 14 lines of iambic pentameter. The rhyme scheme is ABAB CDCD EFEF GG, a hallmark of Shakespeare’s work. This structure reinforces the idea of order and reason in the first two quatrains, which gradually breaks down in the final rhymed couplet, as the speaker’s false sense of self is undone by the truth.
The tone of the sonnet is one of introspection, regret, and eventual reconciliation. The speaker begins with a tone of self-assurance, declaring that no one can surpass him in worth. However, as the sonnet progresses, a tone of self-doubt emerges, giving way to the realization that self-love is an illusion and that only through self-awareness can one truly understand the limits of personal vanity.
Analysis of Sonnet 62
Lines 1–4: The Sin of Self-Love
“Sin of self-love possesseth all mine eye
And all my soul and all my every part;
And for this sin there is no remedy,
It is so grounded inward in my heart.”
The first quatrain introduces the central theme of the sonnet: the destructive nature of self-love. The speaker describes it as a “sin” that “possesseth” all parts of his being, from his eyes to his soul. Shakespeare’s word choice here is deliberate—”possesseth” implies an overwhelming force, as if self-love has completely taken control of the speaker’s mind and spirit. The idea of “no remedy” indicates that the speaker feels trapped in this sin, as if it is inescapable. The sin is not merely a superficial vanity but is deeply ingrained within the speaker’s heart, suggesting an internalized sense of self-worth that is excessive and unhealthy.
Lines 5–8: The Illusion of Superiority
“Methinks no face so gracious is as mine,
No shape so true, no truth of such account,
And for myself mine own worth do define
As I all other in all worths surmount.”
In these lines, the speaker further emphasizes the dominance of self-love in shaping his perception of himself. He believes that no one can compare to him, declaring that his “face” is the most “gracious,” his “shape” the most “true,” and his “truth” the most important. This is the peak of the speaker’s arrogance and self-importance. He defines his worth based on his own standards and perceives himself as superior to all others in every aspect. Here, Shakespeare critiques the egotism that arises from an inflated sense of self-worth, which blinds the individual to the truths of time, aging, and mortality.
Lines 9–12: The Mirror’s Revelation
“But when my glass shows me myself indeed
Beated and chopped with tanned antiquity,
Mine own self-love quite contrary I read;
Self so self-loving were iniquity.”
In the third quatrain, the speaker encounters a painful reality check when he gazes into his mirror (“glass”). The reflection reveals the ravages of time: “beated and chopped with tanned antiquity.” Here, the metaphor of “beated” suggests that the speaker’s physical appearance has been worn down or battered by age, while “chopped” conjures images of destruction or decay. “Tanned antiquity” is a poetic reference to the aging process, where the skin loses its youthful vibrancy and becomes weathered by time.
This confrontation with aging forces the speaker to acknowledge the fallacy of his self-love. The mirror reflects not the idealized self, but the truth of his existence. “Mine own self-love quite contrary I read” is a moment of self-realization; his once proud and exaggerated self-image is shattered. Shakespeare uses the metaphor of the mirror as a symbol of truth—what the speaker sees is the reality of his condition, and he is forced to confront the consequences of his vanity. The speaker now realizes that self-love, if unchecked, is a “sin” or “iniquity.”
Lines 13–14: The Reconciliation
“’Tis thee, myself, that for myself I praise,
Painting my age with beauty of thy days.”
In the final couplet, the speaker reconciles with the truth of his self-love. He acknowledges that his true admiration should not be for himself, but for someone else—perhaps the “you” of the sonnet, a lover, or an idealized figure. The phrase “Painting my age with beauty of thy days” suggests that the speaker is attempting to reinterpret his aging body by projecting the beauty of youth onto it, much as an artist might embellish a portrait. This final gesture is a poetic admission of the power of external validation and love in transcending the limitations of the self. The speaker has learned that it is not through self-adoration, but through the admiration of another, that he may find beauty and meaning.
Conclusion
Shakespeare’s Sonnet 62 is a poignant reflection on the dangers of self-love and vanity. Through the speaker’s internal journey, the poem explores the tension between the idealized self and the harsh truth of aging. The self-love that once seemed empowering is ultimately revealed to be a sin, rooted in the illusion of perfection. The poem invites readers to question the validity of their own self-perceptions, emphasizing the importance of humility and the fleeting nature of physical beauty. In the end, the speaker’s self-awareness marks a shift from self-obsession to a more balanced, outward-focused perspective, demonstrating Shakespeare’s timeless meditation on the human condition.
