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Poem Summary
Lines 1-2
As in Shakespeare’s “Sonnet 29,” the speaker sets up an “if-then” statement by using the word “when.” This allows him to describe his feelings and actions in the present tense, even though he is not experiencing them at the time of composition. The description thus possesses a sort of false immediacy.
The speaker begins to implement a financial or legal metaphor from the word “sessions”; though it generally designates a period of activity, the word also describes the periodic sittings of judges in a court of law. In the next line, “summon up” possesses a similar double entendre: its broader definition is “to call forth,” but it also means “to order an appearance before a court.” The metaphor is continued throughout the sonnet, with words such as “cancelled” (line 7), “expense” (line 8), “account” line 11), and “paid” (line 12). Thus, though “Sonnet 30” tells a rather unspecific tale of a friend in need and a friend indeed, the related metaphors tell their own story: the speaker has incurred debts or the wrath of the law, and only his “dear friend” can get him out of trouble.
Lines 3-4
In these lines, the speaker is in essence “crying over spilled milk,” as the old saying goes. Past losses and problems plague the speaker once again, and the reader can almost hear him stutter and sob, thanks to the tripping rhythm of line 3, and the dragging alliteration and the series of gasp-like stresses in line 4.
“Dear time’s waste,” an emphasized phrase because of its three consecutive accented syllables, may mean a single missed opportunity, a misspent lifetime, or a squandering of valuable time; the reader is left to decide whether time was wasted inside or out of the courtroom.
Lines 5-8
Though he claims that he rarely sheds a tear, the speaker continues to cry throughout the second and third quatrains. The memory of dead friends, lost loves, and faded visions keeps his eyes moist. He seems to hiccup his way over consecutive accented syllables in lines 6 and 7; the profusion of “and”s and “then”s beginning the lines make him sound as if he were blubbering with grief.
Despite the sonnet’s gushing emotion, a Renaissance reader may have found cause to chuckle in line 7. “Woe” and “woo” were homonyms during
Shakespeare’s time; their interchangeability makes the speaker sound as if he has given up on the possibility of love — preferring, perhaps, to wallow in self-pity.
Lines 9-12
The phrase that runs through the third quatrain means little more than, “I continue to dwell on the bad aspects of the past.” The speaker not only stretches this idea, but the language and rhythm of the quatrain as well. Each of the first three lines contains a twice-repeated word that is nearly synonymous with the repeated word in the next line: “grieve” and “grievances” of line 9 are echoed by “woe” and “woe” of line 10, and “moaned” and “moan” of line 11. These words, as well as those of line 12, “pay” and “paid,” are all comprised of long vowelled sounds associated with wailing and weeping. Going back to the figure of speech in line 5, the speaker is indeed “drowning” — in his own language as well as in tears.
The speaker’s actual causes of sorrow remain unknown throughout the sonnet, though the legal or financial metaphor which persists through this quatrain affords one interpretation. For example, a “sad account” may be a sorrowful tale, but it also may be a very sorry-looking record of finances; perhaps the records are so sloppy that the speaker is repaying bills already paid, or perhaps he is being charged an unfortunately high interest rate.
Lines 13-14
The language in line 14 once again suggests that the speaker’s grief may have been related to his financial situation. Perhaps the friend is a wealthy patron; “dear,” used also in line 4, has the meaning “of a high value” as well as “much loved.” The reader of “Sonnet 30” may indeed be this friend: one who has patiently listened to the speaker’s problems, and perhaps rescued him from debt by buying his book of sonnets!
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ANALYSIS SONNET 30
[Line 1]* 'sessions' - the sitting of a court. The court imagery is continued with 'summon up' in line 2. The court motif is used several times by Shakespeare - note Othello 3.3.140: "Keep leets and law days, and in session sit/With mediations lawful?" (Leets = court sessions).
[Line 4]* By replaying his 'old woes' over in his mind, the poet is wasting precious time that could be spent thinking more joyous thoughts. Hence 'my dear time's waste'.
[Line 7]* "love's long since cancell'd woe" is the sorrow the poet had once felt over the loss of his close friends; loss that has dulled over the years but now returns as he thinks of the past.
[Line 8]* Some scholars interpret this line to mean 'I lament the cost to me of many a lost sigh'. "'Sight' for 'sigh' was archaic by Shakespeare's time and seems only to have been used for the sake of rhyme (see OED). Sighing was considered deleterious to health; compare 2 Henry VI 3.2.61-3: 'blood-consuming sighs . . ./Look pale as primrose with blood-drinking sighs', and 47.4." (Blakemore Evans, 142). However, the ordinary word 'sight' also makes sense in this context; that is, the poet has lost many things that he has seen and loved.
[Line 13]* Shakespeare's first use of the term 'dear friend' in the Sonnets.
[Line 14]* His friend is as great as the sum of all the many things the poet sought but did not find.
Sonnet 30 is a tribute to the poet's friend -- and likely his lover -- whom many believe to be the Earl of Southampton. Sonnet 29 proclaims that the young man is the poet's redeemer and this theme continues in the above sonnet. The poet's sorrowful recollections of dead friends are sparked by the lover's absence and can be quelled only by thoughts of his lover, illustrating the poet's dependence on his dear friend for spiritual and emotional support. Notice Shakespeare's use of partial alliteration over several lines to enhance the texture and rhythm of the sonnet. Others could be cited, but here is one example:
When to | the Sess | ions of | sweet si | lent thought
I summ | on up | remem | brance of | things past...
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Shakespeare's Sonnet 30, one of his most famous, is a reflection on sad memories reconciled by the realization of the gift he has in his friend. A phrase from the sonnet, "remembrance of things past," was chosen by C. K. Scott-Moncrieff as the title for his English translation of Marcel Proust's À la recherche du temps perdu.
Synopsis
The sonnet begins by using courtroom metaphors ("session", "summon up" (as a witness), and "cancell'd" (as a debt). The speaker paradoxically describes solitary contemplation as "sweet" despite his inevitable rumination on sad things. Shakespeare grieves his failures and shortcomings ("I sigh the lack of many a thing I sought"), and, although the tragedy is long in the past, he "weep[s] afresh love's long since cancell'd woe". This theme of renewed sadness in contemplation figures prominently in the sonnet.
Then can I grieve at grievances forgone
And heavily from woe to woe tell o'er
The sad account of fore-bemoanèd moan,
Which I pay new as if not paid before.
The sonnet ends with a touching statement that in his thoughts of sorrow, when he thinks of his friend, "All losses are restored and sorrows end." The sonnet is much similar in content and tone to Sonnet 29 ("When in disgrace with fortune and men's eyes...").
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