The curious wits, seeing dull pensiveness
Bewray itself in my long settled eyes,
Whence those same fumes of melancholy rise
With idle pains, and missing aim, do guess.
Some, that know how my spring I did address,
Deem that my Muse some fruit of knowledge plies;
Others, because the Prince my service tries,
Think that I think state errors to redress.
But harder judges judge ambition’s rage,
Scourge of itself, still climbing slippery place,
Holds my young brain captived in golden cage.
O fools, or over-wise: alas, the race
Of all my thoughts hath neither stop nor start,
But only Stella’s eyes and Stella’s heart.
I suggest you click here to open the sonnet in a separate window, so that you can refer directly to it as you read on through the analysis.
A central concern of Hamlet had been a standard component of poetry and drama for years before: the difficulty of explaining a young man’s melancholy when he is young, healthy, and gifted. While our own age considers depression to be a commonplace of minor mental impairment, its Medieval/Renaissance equivalent engendered a sort of awe and mystery, even though (or perhaps because?) there is clearly no place for melancholy within a life governed by reason. In 1621, Robert Burton would publish a monumental and detailed study titled The Anatomy of Melancholy, and he had a plethora of literary sources for his examples.
So here the “curious wits”—perhaps the very same friends who have been criticizing and counseling the speaker in many of these sonnets—find themselves in roughly the same position as Claudius, Gertrude, Polonius, Rosencrantz, and Guildenstern, trying to explain the speaker’s strange melancholy and the “dull pensiveness” that has, of late, crept into his “long settled eyes”; that is, something has changed, and the “wits” are no better than those characters in Hamlet at diagnosing what it is. With “idle pains” (efforts) and a “missing aim,” they merely “guess.”
So now (lines 5-11), predictably, we’re going to hear what their wrong guesses are: basically, three in number, they occupy two, two, and three lines respectively. First (5-6) they guess that since the speaker was devoted to poetry in youth (“spring”), he is preoccupied with his Muse, or pondering a poem (this one actually has a bit of indirect truth in it). Second (7-8), that, as trusted ambassador, he has been given some thorny diplomatic problem to solve. The third guess (9-11), offered by “harder judges,” is considerably less flattering to the speaker: like so many young noblemen in Elizabeth’s reign, he is deemed to be too ambitious for his own good, and is plotting some Machiavellian way to advance himself. Brooding melancholy is indeed the period’s stereotype for plotting or revenge, as in Hieronymo in The Spanish Tragedy, or Caesar’s view of Cassius, or Edmund, Aaron, Don John, or other villains in Shakespeare’s plays. But such ambition is aptly described in the 10th line, even as it is brought up: “Scourge of itself, still climbing slippery place.”
The poem’s fulcrum comes after the eleventh line. Having given free rein to all these opinions, the speaker now dismisses the wits as “fools, or overwise” (i.e., the second possibility is that they are over-analyzing a very simple case). That which preoccupies the speaker (“the race of all my thoughts”) begins and ends with Stella. Or, to complicate that simple truth with a chiasmic structure, it “starts” with Stella’s eyes and “stops” with her heart. Complicate it, indeed: there are three possibilities for that simple idea:
- Neutral, or innocent: Stella is first and last, beginning and end, of the speaker’s preoccupations.
- Optimistic: his quest of Stella began with (the flash of) her eyes (see Sonnets 17 and 20) and its end or goal will be the conquest of her heart.
- Pessimistic: (cf. Sonnets 11 and 12) the quest of Stella started with her eyes, but will be stopped short by her heart.
Next time (weekend of May 31): Sonnet 24
Jonathan Smith is Professor of English at Hanover College, Hanover, Indiana.