The sonnet narrates the speaker’s unanswered and sacrificial love to the individual addressed who is repressed by fright of his ain love for the individual. Consequently. the speaker’s actions are directed towards the individual or object of love as the talker is a ‘slave’ without no pick but to follow the desires of the individual addressed. The usage of slave in the sonnet literally means that the individual is in the services of the individual addressed and blindly follows orders without any inquiries. for the talker is chained with unanswered love: “Being your slave. what should I make but be given upon the hours and times of your desire?

I have no cherished clip at all to pass. nor services to make. till you require nor dare I chide the world-without-end hour” ( Williams 1-4 ) . The talker wallows in his ain wretchedness and unhappiness to function and love his maestro without any idea of love in return. However. the speaker’s wretchedness and unhappiness is non brought about by his maestro but of his ain pick as he volitionally allows himself to endure. He is covetous of the felicity he brings to other people that should hold been justly his.

Yet. he endures and thinks no sorrow or choler towards the individual as he is so hopelessly drenched in love. “But. like a sad slave. stay and think of nought save. where you are how happy you make those ; so true a sap is love that in your will. through you do anything. he thinks no ill” ( Williams 11-14 ) . Shakespeare’s position of love in this sonnet is centered on unanswered and sacrificial—that a individual endures the most painful of all types of love.

Yet. there is felicity in a manner that the individual endures at the sight of the 1 he loves. Love endures even though there is non thought of return or even acknowledgment as implied by the transitions in the sonnet. The individual is enslaved by emotion. taking out ground and the ego out of pick. and forever binds himself to a love that he needs but ne’er got.

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Plants Cited

Shakespeare. William. “Sonnet 57. ” The Complete Works. Eds. Stanley Wells and Gary Taylor. Oxford. New York: Clarendon Press/Oxford. 1988.

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