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Sonnet 65
Sonnet 65 is one of 154 sonnets written by the English playwright and poet William Shakespeare. It is a member of the Fair Youth sequence, in which the poet expresses his love towards a young man.
==Synopsis==
This sonnet is a continuation of Sonnet 64, and is an influential poem on the aspect of Time's destruction. Shakespeare also offers an escape from Time's clasp in his end couplet, suggesting that the love and human emotion he has used through his writing will test Time and that through the years the black ink will still shine bright. Shakespeare begins this sonnet by listing several seemingly vast and unbreakable things which are destroyed by time, then asking what chance beauty has of escaping the same fate. A main theme is that many things are powerful, but nothing remains in this universe forever, especially not a fleeting emotion such as love. Mortality rules over the universe and everything is perishable in this world, so it is only through the timeless art of writing that emotion and beauty can be preserved.
Time is not an innocuous entity. Here in Sonnet 65 Shakespeare shows time's cruel ravages on all that we believe is enduring. According to Lowry Nelson, Jr., Sonnet 65 is simply a continuation of Sonnet 64 and he argues that "both poems are meditations on the theme of time's destructiveness".〔Nelson, Lowry Jr. ''Poetic Configurations: essays in literacy, history and criticism''. University Park, PA: Pennsylvania State University Press, 1992. 139-142.〕 He also explains that "Sonnet 65 makes use of the same words (rage, hand, love ) and more or less specific notions, but it proceeds and culminates far more impressively," in comparison to Sonnet 64. The last two couplets are Shakespeare's own summary on the theme that love itself is a "miracle" that time nor human intervention can destroy.
Shakespeare critic Brents Stirling expands on Lowry's idea by placing sonnet 65 in a distinct group among the sonnets presumably addressed to Shakespeare's young friend, because of the strictly third-person mode of address. Stirling links sonnets 63-68 through their use of "uniform epithet, 'my love' or its variants such as 'my beloved' ".〔Stirling, Brents. The Shakespearean Sonnet Order: Poems and Groups. Berkeley, CA: University of California Press, 1968, 160-163〕 In sonnet 65, the pronoun 'his' directly references the epithet. "Sonnet 65 opens with an epitome of () 64: 'Since brass not stone nor earth nor boundless sea..." The opening line refers back to the 'brass,' 'lofty towers,' 'firm soil,' and 'wa'try main' of 64.〔Stirling, Brents. The Shakespearean Sonnet Order: Poems and Groups. Berkeley, CA: University of California Press, 1968, 160-163〕 'This rage' of 'sad mortality' calls to mind the 'mortal rage' of 64. "After its development of 64, sonnet 65 returns with its couplet to the couplet of 63: 'That in black ink my love may still shine bright' echoes 'His beauty' that 'shall in these black lines be seen'; and 'still shine' recalls 'still green' ".〔Stirling, Brents. The Shakespearean Sonnet Order: Poems and Groups. Berkeley, CA: University of California Press, 1968, 160-163〕 This "triad" of poems relates to the group of sonnets 66-68, for "Their respective themes, Time's ruin (63-65) and the Former Age, a pristine earlier world now in ruin and decay (66-68), were conventionally associated in Shakespeare's day," suggesting that the sonnets were written as a related group meant to be distinctly categorized.〔Stirling, Brents. The Shakespearean Sonnet Order: Poems and Groups. Berkeley, CA: University of California Press, 1968, 160-163〕
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