Sonnet No. 49--Notes
bookburn
http://www.shakespeares-sonnets.com/sonn01.htm
The number 49 was regarded by the Elizabethans as an important, even
critical number, being the seventh multiple of seven. Seventh sons
were looked upon with special awe, the seventh son of a seventh son
even more so. They were thought to have special healing powers. A
quack in James I time was prosecuted for claiming to cure 'the evil'
by the Touch, but it was discovered that his father had had only six
sons. (Shakespeare's England, Oxford 1916, I.427.) Elizabeth's
survival past the grand climacteric, the 63rd year of her life, was
thought to be almost miraculous.
One therefore expects that this sonnet would have some special
significance, given that Shakespeare seems to have taken great care
over the numerical arrangement of the sequence. Nos. 12 and 60 both
relate to clocks, and the total number of sonnets dedicated to the
youth is 126, exactly double the grand climacteric number (63). In
fact the most striking fact is that this sonnet, 49, and 63, both
begin with the same words, and both look to the future, and to the
farewell sonnet No 126. Against that time, if ever that time come,
49.
Against my love shall be as I am now 63. Called to that audit by
advis'd respects; 49. Her audit though delayed answered must be, 126.
It is as though the poet wishes to summarise and encapsulate the
history of his love in these few sonnets placed at a critical juncture
in the series. He is submitting to an audit of his love and doing so
before the final event of death and separation, the end of all things
mortal, however eternal they might have seemed for the moment, or in
the glorious bravado of some of the eternising sonnets of the series.
1. "Against that time, if ever that time come,"; [Against that time =
in preparation for that time. if ever that time come - he leaves open
the possibility that the youth might remain forever faithful.]
2. "When I shall see thee frown on my defects," [defects = failings
(physical, spiritual, social, moral); taints; inadequacies. It is
worth noting that a frown from the beloved beauty (usually a woman)
was often the source of great agony to the lover. He frequently
thought that it would be enough to kill him. (snip)]
3. "When as thy love hath cast his utmost sum," [When as = At the
time when, when the time comes that; hath cast his utmost sum = has
done its final summation of profit and loss; finally attempts to
balance the account on both sides. utmost suggests an effort to extend
the limit of his love beyond its natural termination date. The imagery
is of accounting, and hard nosed business realism, confirmed by audit
in the next line. There is therefore an implied criticism of the
youth's mercenary and calculating love, as opposed to that of the
poet, which is boundless and free. The word cast also has the
association of
the biblical casting pearls before swine, implying here that the poet
is not worthy of so great a love (he is the swine, the youth the
pearl), or exactly the opposite, the youth being unworthy]
4. "Called to that audit by advis'd respects;" [audit = an
examination of accounts. In 4 and 126, in Q, the word is italicised
and capitalised, in the latter case being spelt Audite, as here. This
spelling emphasises the root meaning of the word, as a summons to a
hearing in which the accounts were presented and examined by
officials. advised respects = considerations of one's position in
society. The word advised suggests the listening to
advice given by others about the danger of friendship with unsuitable
persons, for example, the damage to one's social standing, etc. etc.
Shakespeare uses the phrase in John.IV.2. (snip)]
5. "Against that time when thou shalt strangely pass," [strangely =
as a stranger; awkwardly. pass = walk past, pass by.]
6. "And scarcely greet me with that sun, thine eye," [that sun, thine
eye - this recalls the imagery of 7, 18, 33. in which the sun is an
eye which looks upon the world, or is associated with eyes in some
way. In fact, contrary to first impressions, the word 'sun' is not
used very often in the sonnets, only eight times (including one
plural), whereas 'eye'occurs much more frequently. (eye = 28, eyes =
36). The idea conveyed here is that of the majesty of the sun which
the eye of the beloved recalls. It gilds all objects upon which it
looks.]
7. "When love, converted from the thing it was," [converted = turned
away. The basic meaning is to turn or revolve, from the Latin
convertere. Used thus here and in Sonn.7: The eyes, 'fore duteous, now
converted are/From his low tract and look another way: But the
figurative meaning of to cause to change a belief or religion is also
present, and was used elsewhere by Shakespeare. Cf. MV: In converting
Jews to Christians, you raise the price of pork. MV. III..5.37. the
thing it was - as HV points out, it is as if he cannot
find adequate words to express what the love of the youth was towards
him.]
8. "Shall reasons find of settled gravity;" [reasons = reasons to
justify desertion; settled gravity = well-established, or staid
sobriety. The basic meaning of gravity derives from the term gravitas
applied to men of high standing in ancient Rome, the patricians (or
optimates). It denoted seriousness of purpose and behaviour.]
9. "Against that time do I ensconce me here," [ensconce = secure
myself with fortifications; figuratively - set myself up in a
position ready for defence. A sconce was a minor fortification or
earthwork. The poet here is however not planning to defend himself,
but to defend the youth against the alleged crime of desertion. Note
the repetition of Against that time. It has been used like the tolling
of a bell as the opening phrase for each of the three quatrains.]
10. "Within the knowledge of mine own desert" [His knowledge of his
own
(un)worthiness will be the basis of his defence of the youth.]
11. "And this my hand, against my self uprear," [As in a military
encounter; or in taking an oath in the witness box. uprear = lift up.
this my hand could also apply to and-writing, hence to the poem
itself.]
12. "To guard the lawful reasons on thy part:" [To guard - A
continuation of the military metaphor. The meaning here seems to be to
offer as a defence, to guard you with lawful reasons etc. on thy part
= which are your rightful claim.]
13. "To leave poor me thou hast the strength of laws," [poor me - a
typical belittlement of his own worth, which as elsewhere has a double
edged meaning. The lover is poor because he is potentially in so much
danger of being abandoned by the loved one. The phraseology also
suggests the behaviour of the magnate who insists on interpreting the
letter of the law and stifles humanity in the process, one who would
squeeze the last penny from a widow as payment of a debt. Compare
Shylock's insistence on the law in MV.]
14. "Since why to love I can allege no cause." [I can allege no cause
- the formula is a legal or ecclesiastical one, as in The Book of
Common Prayer 1549. Matrimony: ...Yf no impedimente bee alleged. OED
also gives 1513 11;14 Act 5 Hen. VIII, c. 1 If the same
persons...obiecte or allege any cause why he shall not soo doo. (Under
object). See also line 10.]
Paul Crowley
> Notes, edited format, from
> http://www.shakespeares-sonnets.com/sonn01.htm
> The number 49 was regarded by the Elizabethans as an important, even
> critical number
> Elizabeth's
> survival past the grand climacteric, the 63rd year of her life, was
> thought to be almost miraculous.
>
> One therefore expects that this sonnet would have some special
> significance, given that Shakespeare seems to have taken great care
> over the numerical arrangement of the sequence. Nos. 12 and 60 both
> relate to clocks, and the total number of sonnets dedicated to the
> youth is 126, exactly double the grand climacteric number (63). In
> fact the most striking fact is that this sonnet, 49, and 63, both
> begin with the same words, and both look to the future, and to the
> farewell sonnet No 126. Against that time, if ever that time come,
> 49.
> Against my love shall be as I am now 63. Called to that audit by
> advis'd respects; 49. Her audit though delayed answered must be, 126.
>
> It is as though the poet wishes to summarise and encapsulate the
> history of his love in these few sonnets placed at a critical juncture
> in the series.
Indeed -- these are good points -- but not for sonnets
addressed to some 'Fair Youth'. Guess the identity
of the addressee for whom such a careful arrangement
of these numbers would be most appropriate . . .
(There are clues in the passage above!)
> He is submitting to an audit of his love and doing so
> before the final event of death and separation, the end of all things
> mortal, however eternal they might have seemed for the moment, or in
> the glorious bravado of some of the eternising sonnets of the series.
Yes, indeed. But whose death?
Paul.
--
Email: pebj...@ubgznvy.pbz (apply ROT13)
Paul Crowley
> http://www.shakespeares-sonnets.com/sonn01.htm
These are excellent notes. I'll use them to illustrate how the
sonnet can be seen as addressed from Oxford to the Queen.
> Elizabeth's
> survival past the grand climacteric, the 63rd year of her life, was
> thought to be almost miraculous.
>
> One therefore expects that this sonnet would have some special
> significance, given that Shakespeare seems to have taken great care
> over the numerical arrangement of the sequence. Nos. 12 and 60 both
> relate to clocks, and the total number of sonnets dedicated to the
> youth is 126, exactly double the grand climacteric number (63). In
> fact the most striking fact is that this sonnet, 49, and 63, both
> begin with the same words, and both look to the future, and to the
> farewell sonnet No 126. Against that time, if ever that time come,
> 49. Against my love shall be as I am now 63. Called to that audit by
> advis'd respects; 49. Her audit though delayed answered must be, 126.
'Her audit' would have had a fearful ring for Oxford. He owed
vast amounts to the Queen. The system of fines imposed by
the monarchy at that time for late payment was draconian.
Oxford rarely (if ever) paid on time, and he finished up owing
more than he could ever pay. He became entirely dependent
on her charity. It is no surprise that he puts the word into
the most crucial of the sonnets.
> It is as though the poet wishes to summarise and encapsulate the
> history of his love in these few sonnets placed at a critical juncture
> in the series. He is submitting to an audit of his love and doing so
> before the final event of death and separation, the end of all things
> mortal, however eternal they might have seemed for the moment, or in
> the glorious bravado of some of the eternising sonnets of the series.
> 1. "Against that time, if ever that time come,";
> Against that time =
> in preparation for that time. if ever that time come - he leaves open
> the possibility that the youth might remain forever faithful.
As Helen Vendler remarks, "we read behind the words to the
existence of the cold distance already noticed" (btw, those
are her words, not mine, and she's a poet).
> 2. "When I shall see thee frown on my defects,"
> defects = failings
> (physical, spiritual, social, moral); taints; inadequacies. It is
> worth noting that a frown from the beloved beauty (usually a woman)
> was often the source of great agony to the lover. He frequently
> thought that it would be enough to kill him. (snip)]
Indeed "usually a woman" -- and in this case, a queen.
Can you see the poet being afraid of a frown from the
'fair youth'?
> 3. "When as thy love hath cast his utmost sum,"
> The imagery
> is of accounting, and hard nosed business realism, confirmed by audit
> in the next line. There is therefore an implied criticism of the
> youth's mercenary and calculating love, as opposed to that of the
> poet, which is boundless and free.
This gets ridiculous --- the "youth's mercenary and calculating
love" ! What next? It was, of course, the Queen's mercenary
'love' for which she was notorious.
> 4. "Called to that audit by advis'd respects;"
> audit = an
> examination of accounts. In 4 and 126, in Q, the word is italicised
> and capitalised, in the latter case being spelt Audite, as here. This
> spelling emphasises the root meaning of the word, as a summons to a
> hearing in which the accounts were presented and examined by
> officials. advised respects = considerations of one's position in
> society. The word advised suggests the listening to
> advice given by others about the danger of friendship with unsuitable
> persons, for example, the damage to one's social standing, etc. etc
These are penetrating insights -- and so appropriate to
position of the poet in relation to the Queen. And so
wholly inappropriate to that supposed between the
poet and the 'fair youth'.
> 5. "Against that time when thou shalt strangely pass,"
> strangely = as a stranger; awkwardly. pass = walk past, pass by.]
The Queen would often be in a position to "strangely pass"
a courtier. Whereas the Stratman would rarely, if ever, see
the 'fair youth' once the supposed connection had been
severed.
> 6. "And scarcely greet me with that sun, thine eye,"
> that sun, thine
> eye - this recalls the imagery of 7, 18, 33. in which the sun is an
> eye which looks upon the world, or is associated with eyes in some
> way. In fact, contrary to first impressions, the word 'sun' is not
> used very often in the sonnets, only eight times (including one
> plural), whereas 'eye'occurs much more frequently. (eye = 28, eyes =
> 36). The idea conveyed here is that of the majesty of the sun
The 'majesty of the sun' is indeed an appropriate metaphor
-- wholly out of place as regards the 'fair youth'.
> which the eye of the beloved recalls. It gilds all objects
> upon which it looks.]
Another image perfect for the Queen/Oxford scenario and
absurd in the Southampton/Stratman one.
> 7. "When love, converted from the thing it was,"
> converted = turned
> away. The basic meaning is to turn or revolve, from the Latin
> convertere. Used thus here and in Sonn.7: The eyes, 'fore duteous, now
> converted are
Sonnet 7 is a nice parallel to this, using the sun metaphor.
The idea that Southampton was the sun and anyone was
'duteous' to him is, of course, absurd.
> 8. "Shall reasons find of settled gravity;"
> reasons = reasons to
> justify desertion; settled gravity = well-established, or staid
> sobriety. The basic meaning of gravity derives from the term gravitas
> applied to men of high standing in ancient Rome, the patricians (or
> optimates). It denoted seriousness of purpose and behaviour.]
Indeed, another acute observation. The Queen would have
had many reasons of 'settled gravity' for ignoring Oxford.
She had a reputation to uphold and Oxford's behaviour
was, at times, scandalous. But there is, of course, nothing
of the sort at all likely between Southampton and the
Stratman. Nor would anyone have attached the notion
of 'gravitas' to Southampton -- who also tended to loose
and scandalous behaviour, as in the 1601 rebellion.
> 9. "Against that time do I ensconce me here,"
> ensconce = secure
> myself with fortifications; figuratively - set myself up in a
> position ready for defence. A sconce was a minor fortification or
> earthwork. The poet here is however not planning to defend himself,
> but to defend the youth against the alleged crime of desertion.
The commentator goes off the rails here. It's hard to
see why. The poet is clearly separated from his love,
and is settling into a minor 'earthwork'.
> 10. "Within the knowledge of mine own desert"
> His knowledge of his own
> (un)worthiness will be the basis of his defence of the youth.]
The commentator is way off track. Oxford is talking about
his own unworthiness.
> 11. "And this my hand, against my self uprear,"
> As in a military
> encounter; or in taking an oath in the witness box. uprear = lift up.
> this my hand could also apply to and-writing, hence to the poem
> itself.]
A good point. Oxford was almost certainly writing some of the
plays at this point.
> 12. "To guard the lawful reasons on thy part:"
> To guard - A
> continuation of the military metaphor. The meaning here seems to be to
> offer as a defence, to guard you with lawful reasons etc. on thy part
> = which are your rightful claim.]
By writing those great plays, the poet was guarding himself
against punishment he felt was due from the Queen.
> 13. "To leave poor me thou hast the strength of laws,"
> poor me - a
> typical belittlement of his own worth, which as elsewhere has a double
> edged meaning. The lover is poor because he is potentially in so much
> danger of being abandoned by the loved one.
No, Oxford was poor, period. He had spent or lost his patrimony.
> The phraseology also
> suggests the behaviour of the magnate who insists on interpreting the
> letter of the law and stifles humanity in the process, one who would
> squeeze the last penny from a widow as payment of a debt. Compare
> Shylock's insistence on the law in MV.]
A very good point. That is exactly how many of the aristocrats
regarded Elizabeth.
> 14. "Since why to love I can allege no cause."
> I can allege no cause
> - the formula is a legal or ecclesiastical one
A typical self-pitying conclusion to the sonnet. That
is wholly in keeping with Oxford's character.