Moving and Being Moved by Shakespeare’s Sonnets

Shakespeare is widely recognized as one of the preeminent poets of the English language. Throughout his poetry, readers encounter both the lighter and joyous, as well as the darker and more burdensome moments of human existence. Although few scholars focus on this theme today, most of Shakespeare’s works are centered around the idea of Love. As an integral component of “The Good Life,” Love requires a willful receptivity in the contemplation and examination of its very essence. It must be tucked within the existential tensions of one’s life. In the face of a society driven by a sense of immanent productivity and constant activity, true contemplation requires a detachment from the distractive demands of the often-unrelenting madness of our world.  Love requires a willingness to engage in intellectual pursuits for their own sake. It could be postulated that a truly fulfilling existence involves delving into the depths of one’s private being and embarking on a quest for authenticity in comprehending the nature of reality — a reality of love. As Aristotle wrote, man has within him an innate capacity for virtue, and man’s nature is not fixed or determined by outside forces. To live in accord with the highest virtue (theoria) is therefore the most elevated kind of life.

Reading Shakespeare’s Sonnets is one such way of engaging with the highest good and embarking on a quest to comprehend the nature of reality. Reading Shakespeare is not merely a means of attaining knowledge or solving a practical problem but is rather a pursuit that centers around the exploration of the self and the search for ultimate meaning. Unlike other sciences or forms of knowledge, philosophy and poetic knowledge cannot be objectified or fully understood through external observation. They precede knowledge itself and enable the very act of knowing. It is not a result of one’s interaction with the world or the incorporation of external realities, but rather a reflection of the individual’s own existence and identity that are essential.

In Book X, Chapter 7 of his Ethics, Aristotle emphasizes that each person’s true “Self” is constituted by the supreme principle of working in “accordance with,” and “observance to, Pure Intellect.”

[F]or it is not in so far as he is man that he will live so, but in so far as something divine is present in him; and by so much as this is superior to our composite nature is its activity superior to that which is the exercise of the other kind of virtue. If reason is divine, then, in comparison [30] with man, the life according to it is divine in comparison with human life.

And those that tend and “cultivate” toward this end seem “to be both in the best state of mind and most dear to the gods,” which is superior to all others in terms of goodness.  It would be illogical, according to Aristotle, for individuals not to choose their own lives but instead adopt the lives of others. But how might one know if one is accessing their own share in this “pure intellect?”  In this regard, Shakespeare’s Sonnets offer an unparalleled platform for individuals to work towards this aim, as they immerse themselves in some of the most perennial inquiries of human existence. Through these exquisite works of English poetry, Shakespeare presents a profound range of enigmatic dilemmas that conjure mysterious imagery and contrary emotions, encompassing fervent love and profound sorrow, and thereby compelling readers into an introspection to gain insights into their inner selves. And while the sonnets do not explicitly discuss the relationship between knowledge and happiness, one could interpret their aim as such, in exploring the universal mysteries of love, beauty, and the complexities of human emotions in contradictory and often difficult formulations.

One of the reasons Shakespeare’s sonnets continue to captivate readers today is their particular and idiosyncratic analysis of the universals in humanity. Whether it is the fleeting nature of beauty, the inevitability of aging and mortality, or the complexities of love and relationships, these themes resonate with people across cultures and time. They also nag one from accepting time-worn clichés and prod the heart for understanding. For instance, Sonnet 29 serves as a poignant expression of perennial feelings of inadequacy and despair in life amidst the turmoil. Solace is ultimately discovered in the power of the unknown entity, referred to as “thee,” which reverberates within the speaker’s thoughts and imagination. At first, one might find this formula passé, a kind of puppy love at best. But who or what could drive the poet or the reader to really feel this way?  The identity of this enigmatic presence remains open to conjecture, yet it is through the suggestion and pursuit of “thee” that the speaker appears to find fulfillment and happiness, and one in which he would “scorn to change my state with kings.”

The notion of a bond of two is problematized by the enigmatic verses of Sonnet 134, where he writes, “So, now I have confessed that he is thine, and I myself am mortgaged to thy will.” A third is inferred, and the plot thickens.  But not if we consider an earlier trifecta.  Sonnet 94 presents the union of Beauty, Kindness, and Truth, in a long-awaited union within the beloved.  When in 134, the speaker acknowledges his submission to another’s will, the act of decision could ultimately reveal one’s path as embracing Aristotle’s “divine principle” within oneself; being as it may, in direct conflict with one’s desires.  This connection could be made with Sonnet 30, where Shakespeare reflects on past losses and finds solace in the power of memory and the enduring value of Love. All this resonates with Aristotle’s emphasis on the pursuit of excellence as well as his focus on the nature of friendship in the Ethics.  Aristotle and Shakespeare persistently suggest that by aligning oneself with higher ideals and virtues, one can transcend the limitations of ordinary human existence and find a deeper sense of fulfillment and happiness. 

Another interpretation of “thee” in Shakespeare’s sonnets could be that it represents the fluidity of Love and desire. Rather than being confined to a single person, “thee” embodies the ever-changing nature of human emotions. This interpretation suggests that Shakespeare’s sonnets explore the complexities of love and desire, as transcending the boundaries of individual relationships and encompassing a broader understanding of human experience. Yet by leaving the question of “thee” open, Shakespeare invites readers to engage in introspection and self-reflection. The ambiguity of the pronoun prompts readers to examine their own emotions, desires, and experiences of love. This intellectual introspection allows readers to connect with the sonnets on an even deeper level as they contemplate their own interpretations.

Let us investigate these notions within Sonnet 94:

They that have power to hurt and will do none,
That do not do the thing they most do show,
Who, moving others, are themselves as stone,
Unmoved, cold, and to temptation slow,
They rightly do inherit heaven’s graces
And husband nature’s riches from expense;
They are the lords and owners of their faces,
Others but stewards of their excellence.
The summer’s flower is to the summer sweet,
Though to itself it only live and die;
But if that flower with base infection meet,
The basest weed outbraves his dignity:
        For sweetest things turn sourest by their deeds;
        Lilies that fester smell far worse than weeds.

Poetry, as a self-sufficient form of thinking, is unique in its ability to perform in the absence of performance. As it delves into the depths of human consciousness and introspection, it serves as a “solar plexus” of concepts and problems that arise from the human quest for self-discovery.  “The summer’s flower is to the summer sweet, Though to itself it only live and die.”  Contemplation is the only discipline that can exclusively focus on the exploration of the self, as it is not bound by the limitations of external knowledge or practicality.  While other forms of thinking may serve the purpose of acquiring knowledge or solving practical tasks, philosophy and poetry go beyond these objectives. It seeks to understand the essence of one’s being and existence, without relying solely on external sources or experiences. It is a journey that lies within the individual, independent of external influences.

In Sonnet 29, Shakespeare explores this theme of self-worth and introspection. The speaker laments his perceived lack of fortune and success but ultimately finds solace in the love and companionship of his beloved. With this introspective journey, one is reminded of Solon’s teachings on self-awareness and the importance of inner fulfillment over external achievements. In Sonnet 116, Shakespeare delves into the timeless nature of true love and commitment. The speaker extols the virtues of Love that endures despite obstacles and challenges, emphasizing the enduring power of human connections. By embracing this wisdom and channeling its influences in our lives, we can strive to achieve a state of balance, self-awareness, and fulfillment that leads to true happiness. But:

“Who, moving others, are themselves as stone,
Unmoved, cold, and to temptation slow,”

It is not difficult to see in these lines Aristotle’s notion of the “unmoved mover” as the cause that is not itself moved by any prior action, but instead moves all other things. This unmoved mover is described as perfectly beautiful, indivisible, and focused on self-contemplation.  In contrast, Shakespeare’s lines suggest a different perspective. These lines imply that although one may influence others, without the openness or the ability to be moved, one’s love becomes petrified. While Aristotle’s notion of an unmoved mover focuses on a divine being that is the ultimate source of motion in the universe, Shakespeare’s lines reveal that the power behind the discursive, unfeeling, and resistant-to-change mode of being can indeed become sour, and thus far worse than the “basest weed.” For even the lowly weed can transcend itself.

Man is the image of transcendence. Man can do nothing but transcend his natural environment; man has done nothing else. Man has, in his unparalleled journey in the biological world, continued in a manner like no other being.  So much so that the extreme generosity of being itself is made most visible in the world through that which man has produced; an ineffable number of creations, most lost to us, and each with its own particular idiosyncrasies; dealt as they were according to persons, times, and places. What has brought about the strange changes of man has changed man as he changes. Through transformation, man is transformed. And this is a fact hardly measurable.  Each new generation grapples with the existence of the unfathomable fountainhead of existence within himself; and yet, each new generation finds its own way of denying this undeniable fact.  Often to the detriment of regret before one’s last breath.

And this is all in line with what Aristotle says: “Must no one at all, then, be called happy while he lives; must we, as Solon says, see the end?” For Solon, the key to the “good life” lies in balancing various aspects of one’s character and behavior.  Here Solon, Aristotle, and Shakespeare are putting forth the theory that by being moved and embracing the guidance of the muses, individuals can tap into their inner potential and achieve greatness in their chosen pursuits through the contemplation of the multifaceted nature of Love.  Aristotle continues: “Even if we are to lay down this doctrine, is it also the case that a man is happy when he is dead? Or is not this quite absurd, especially for us who say that happiness is an activity?” And so it is for our immediate concern that the “activity” of happiness be contemplated, and this is the utility of the sonnets.

In Leisure: The Basis of Culture, Josef Pieper argues that true leisure is not mere idleness but rather a state of being that allows for contemplation and the pursuit of higher truths. He writes, “Leisure is a form of that stillness that is necessary preparation for accepting reality; only the person who is still can hear, and whoever is not still cannot hear.” It is with the contemplative nature of Shakespeare’s Sonnets, and good poetry and philosophy as a whole, that, as the ultimate expression of selfhood, it is not generated or derived from or for the sake of anything else but rather exists as the cause and beginning of the human world: Love. It reflects the individual’s unique perspective and consciousness, enveloping the importance of self-awareness, self-realization, and one’s relationship with others. In relation to Shakespeare’s Sonnets, this passage can be interpreted as an exploration of the relationship between action and thought, and the role of the individual in shaping their own and another’s ethical existence. The idea that an act, regardless of its consequences, originates from the self, is intimately connected to one’s own receptivity. If one is willing to step back and experience them for what they are, Shakespeare’s Sonnets invite readers to contemplate the nature of Love and Life.

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