Sonnet 151 is the 151st of 154 poems in

sonnet A sonnet is a fixed poetic form with a structure traditionally consisting of fourteen lines adhering to a set Rhyme scheme, rhyming scheme. The term derives from the Italian word ''sonetto'' (, from the Latin word ''sonus'', ). Originating in ...

form by

William Shakespeare William Shakespeare ( 23 April 1564 – 23 April 1616) was an English playwright, poet and actor. He is widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's nation ...

published in a 1609 collection titled ''

Shakespeare's sonnets William Shakespeare (1565 –1616) wrote sonnets on a variety of themes. When discussing or referring to Shakespeare's sonnets, it is almost always a reference to the 154 sonnets that were first published all together in a quarto in 1609. Howe ...

''. The sonnet belongs to the Dark Lady sequence (sonnets 127–152), which distinguishes itself from The Fair Youth sequence by being more overtly sexual in its passion. Sonnet 151 is characterized as "bawdy" and is used to illustrate the difference between the spiritual love for the ''Fair Youth'' and the sexual love for the ''Dark Lady''. The distinction is commonly made in the introduction to modern editions of the sonnets in order to avoid suggesting that Shakespeare was

homosexual Homosexuality is romantic attraction, sexual attraction, or sexual behavior between people of the same sex or gender. As a sexual orientation, homosexuality is "an enduring pattern of emotional, romantic, and/or sexual attractions" exc ...

Structure

Sonnet 151 is an English or Shakespearean

. The English sonnet has three

quatrain A quatrain is a type of stanza, or a complete poem, consisting of four Line (poetry), lines. Existing in a variety of forms, the quatrain appears in poems from the poetic traditions of various ancient civilizations including Persia, Ancient India ...

s, followed by a final rhyming

couplet In poetry, a couplet ( ) or distich ( ) is a pair of successive lines that rhyme and have the same metre. A couplet may be formal (closed) or run-on (open). In a formal (closed) couplet, each of the two lines is end-stopped, implying that there ...

. It follows the typical

rhyme scheme A rhyme scheme is the pattern of rhymes at the end of each line of a poem or song. It is usually referred to by using letters to indicate which lines rhyme; lines designated with the same letter all rhyme with each other. An example of the ABAB rh ...

of the form ABAB CDCD EFEF GG and is composed in

iambic pentameter Iambic pentameter ( ) is a type of metric line used in traditional English poetry and verse drama. The term describes the rhythm, or meter, established by the words in each line. Meter is measured in small groups of syllables called feet. "Iambi ...

, a type of poetic

metre The metre (or meter in US spelling; symbol: m) is the base unit of length in the International System of Units (SI). Since 2019, the metre has been defined as the length of the path travelled by light in vacuum during a time interval of of ...

based on five pairs of metrically weak/strong syllabic positions. The 3rd line exemplifies a regular iambic pentameter:

  ×    /  ×    /  ×   /     ×   / × / 
Then, gentle cheater, urge not my amiss, (151.3)

The 8th line features two common metrical variations: an initial reversal and a final extrametrical syllable or ''feminine ending'':

  /×    ×   /      ×     /    ×  /   ×   / (×) 
Triumph in love; flesh stays no farther reason, (151.8)

:/ = ''ictus'', a metrically strong syllabic position. × = ''nonictus''. (×) = extrametrical syllable. The 8th line also necessarily has a feminine ending. Line 1 has an initial reversal, and mid-line reversals are found in lines 2, 10, 12, and potentially line 5. Line 6 features the rightward movement of the third ictus (resulting in a four-position figure, × × / /, sometimes referred to as a ''minor ionic''):

 ×  /  ×   /    ×  ×   /    / ×     / (×) 
My nobler part to my gross body's treason; (151.6)

A minor ionic also occurs in line 11.

Exegesis

The poem starts with an admonishment to the ''Dark Lady'' to not accuse the speaker of sin since she might find herself guilty of the same; specifically her infidelity to the speaker by sleeping with the ''Fair Youth''. The speaker's sin, on the other hand, is to betray himself by allowing his body rather than his soul to steer his actions. It uses the body as a metaphor for the penis, "rising" and "falling" with an erection when aroused, and so reduces the speaker to nothing more than his phallus; by giving in to his desires he enslaves himself to the ''Dark Lady''. Sonnet 151, with a "bawdy chronicle of erection and detumescence", contrasts with Sonnet 55's "grandiloquent expression", but their theme is the same: "what changes, what remains". Sonnet 55 "celebrates ... love and poetry that endure where Sonnet 151 "contemplates the inevitability of change". Sonnet 151 has been compared to a verse by 17th-century author Joseph Swetnam—published in 1615 under the pseudonym Thomas Tell-Troth, in a pamphlet titled ''The Arraignment of Lewd, Idle, Froward, and Unconstant Women''—satirizing the vices of women. "The woman's best part call it I dare / Wherein no man comes but must stand bare / And let him be never so stout / T'will take him down before he goes out." Both poems imply that sex subordinates the man to the woman. The bawdy imagery of the poem, from the "nobler part" ("penis") in line 6 "rising at thy name", its "rise and fall" at line 14, has been discussed at length.

In film

This sonnet is featured in

Derek Jarman Michael Derek Elworthy Jarman (31 January 1942 – 19 February 1994) was an English artist, film maker, costume designer, stage designer, writer, poet, gardener, and gay rights activist. Biography Jarman was born at the Royal Victoria Nursing ...

's film '' The Angelic Conversation'', which discusses homosexuality. It is the first poem shown in the film, the only one not read aloud, and one of only two partially and not wholly portrayed (the last two lines of Sonnet 57 are also omitted). Only the first two lines of the poem are seen on screen. Jarman is attempting to challenge the idea that Shakespeare was solely heterosexual. In the context of his film, the opening two lines seem to communicate that conscience and ethics come from sexual attraction.Pencak, William. ''The Films of Derek Jarman.'' Jefferson: McFarland, 2002. pp. 87-88

Structure

Exegesis

In film

References

Further reading