William Shakespeare‘s Sonnet 96 is one of his 154 sonnets, where he explores themes of beauty, fault, and the paradoxical relationship between virtue and vice. As with many of Shakespeare’s works, this poem is intricately layered with deep meanings, presenting a refined balance between the love for the subject and the exploration of human flaws. Let us delve into a detailed analysis of the poem’s structure, tone, and specific lines.
Shakespeare’s Sonnet 96
Some say thy fault is youth, some wantonness;
Some say thy grace is youth and gentle sport.
Both grace and faults are loved of more and less;
Thou mak’st faults graces that to thee resort.
As on the finger of a thronèd queen
The basest jewel will be well esteemed,
So are those errors that in thee are seen
To truths translated and for true things deemed.
How many lambs might the stern wolf betray
If like a lamb he could his looks translate!
How many gazers mightst thou lead away
If thou wouldst use the strength of all thy state!
But do not so. I love thee in such sort
As, thou being mine, mine is thy good report.
The Structure and Tone of Sonnet 96
Sonnet 96 follows the typical structure of a Shakespearean sonnet: 14 lines, divided into three quatrains (four-line stanzas) followed by a final couplet. It adheres to the ABABCDCDEFEFGG rhyme scheme and is written in iambic pentameter, which is common in Shakespeare’s sonnets.
The tone of the poem is affectionate and reflective, yet it carries an undercurrent of admiration that blends into an almost playful teasing. Shakespeare is not merely analyzing faults in his lover but is ultimately suggesting that these perceived faults are, in fact, part of the lover’s charm. The poem moves between earnest praise and subtle critique, creating a tone of light-hearted yet sincere affection. The speaker’s attitude toward the subject reflects an almost philosophical musings on beauty, faults, and the transference of grace.
Analysis of Sonnet 96
Lines 1–4
“Some say thy fault is youth, some wantonness;
Some say thy grace is youth and gentle sport.
Both grace and faults are loved of more and less;
Thou mak’st faults graces that to thee resort.”
In the first quatrain, Shakespeare sets up a dichotomy between perceived faults and virtues. The opening lines speak to the tension between the “fault” of youth and “wantonness”, suggesting that the lover is accused of youthful indiscretions or excessive playfulness. Some critics, however, argue that these very traits—youth and gentle sport—are what give the lover grace. The speaker’s argument is subtle: beauty, as seen in the subject, is a matter of perspective. What others might consider faults (youth, wantonness) can, in fact, be transformed into virtues under the right light. The phrase “Thou mak’st faults graces that to thee resort” suggests that the lover’s natural charm renders these faults into something admirable, elevating them to the level of grace.
This paradoxical way of seeing flaws as virtues is a key theme in the poem, as it reflects the power the subject holds to transform others’ perceptions and to command affection regardless of supposed imperfections.
Lines 5–8
“As on the finger of a thronèd queen
The basest jewel will be well esteemed,
So are those errors that in thee are seen
To truths translated and for true things deemed.”
In these lines, Shakespeare uses a powerful metaphor of a “thronèd queen” to convey his point. A “basest jewel”, or a jewel of lowly value, when placed upon the finger of royalty, gains significance simply because it is associated with something of high status. Likewise, the lover’s faults are “translated” into virtues because of the inherent value of the lover themselves. The lover, like the queen, has the ability to elevate anything associated with them, transforming even errors into “truths” that others accept as virtuous.
This metaphor illustrates the central paradox of the poem—flaws in the lover are not only accepted but revered because of the lover’s beauty and grace. The comparison to a queen shows how the lover is placed in a position of such esteem that their perceived errors are easily forgiven or even admired.
Lines 9–12
“How many lambs might the stern wolf betray
If like a lamb he could his looks translate!
How many gazers mightst thou lead away
If thou wouldst use the strength of all thy state!”
In the third quatrain, Shakespeare shifts tone slightly by offering a more cautionary reflection. He uses the metaphor of a “stern wolf” to describe the potential danger of the lover’s power. If the wolf were able to appear harmless like a lamb, it would have the power to deceive and betray many others. Similarly, the lover, by appearing even more alluring and innocent, could manipulate or lead others astray.
The phrase “strength of all thy state” refers to the lover’s physical and emotional power, which, if used to its full extent, could attract and mislead countless people. The use of the wolf and lamb imagery suggests the tension between innocence and cunning, and how the lover could wield their charm in a way that might be dangerous if not tempered by love or responsibility.
Lines 13–14
“But do not so. I love thee in such sort
As, thou being mine, mine is thy good report.”
In the final couplet, the speaker reassures the lover with a more direct expression of love and commitment. The speaker acknowledges that the lover has the potential to deceive or lead others astray, but declares, “But do not so”—a plea for the lover to remain true. The speaker’s love is steadfast, grounded in admiration for the lover’s beauty and virtues, rather than the allure of fleeting or superficial attractions.
The final line, “mine is thy good report”, emphasizes that the speaker’s love brings honor to the lover. The good reputation of the lover is tied to the speaker’s love, suggesting that the speaker views the lover not just as an object of affection, but as someone whose virtues and graces are, in part, a reflection of the speaker’s own feelings.
Conclusion
Shakespeare’s Sonnet 96 is a masterful exploration of beauty, grace, and the nature of flaws. It contemplates how virtues and faults are often inseparable, and how, through the lens of love, even faults can become virtues. The speaker’s affectionate tone, paired with the strategic use of metaphor, elevates the lover’s character to one of near-royal status, showing how love transforms perception. The tension between innocence and deception adds a layer of complexity to the poem, suggesting both the power and the responsibility that beauty carries. Ultimately, Sonnet 96 reveals Shakespeare’s deep understanding of the paradoxical nature of love—where faults are embraced and even celebrated, and where true beauty lies not in perfection, but in the grace with which one carries one’s flaws.
