You are viewing a free preview of this lesson.
Subscribe to unlock all 10 lessons in this course and every other course on LearningBro.
Two of the most enduring poems in the English language grapple with a deceptively simple question: what is love? Thomas Wyatt, writing in the 1530s amid the dangers of Henry VIII's court, presents love as a torturous, impossible pursuit. William Shakespeare, writing some sixty years later, attempts to define love as an absolute — unchanging, eternal, beyond the reach of time. Read together, these poems reveal how the Petrarchan tradition shaped English love poetry and how two very different poets adapted continental forms to express profoundly English anxieties about desire, power, and possession.
Thomas Wyatt (1503–1542) was a courtier, diplomat, and poet who moved in the most dangerous circles in England. He served Henry VIII at a time when proximity to the king could bring either extraordinary advancement or death. The poem is widely read as an allegory for Wyatt's rumoured affair with Anne Boleyn — the "hind" (female deer) that belongs to "Caesar" (Henry VIII).
AO3 — Context: The Petrarchan sonnet arrived in England through Wyatt's translations and adaptations of Petrarch's Rime sparse (c. 1327). Wyatt's source poem is Petrarch's Sonnet 190, "Una candida cerva," in which the poet encounters a white deer wearing a jewelled collar inscribed with Caesar's name. Wyatt transforms this into something far more politically charged and personally dangerous.
The poem follows the Petrarchan sonnet form: an octave (ABBAABBA) followed by a sestet, though Wyatt's rhyme scheme in the sestet (CDDCEE) introduces a closing couplet more typical of what would become the English sonnet form. This hybrid structure mirrors the poem's thematic tension between continental tradition and English innovation.
The volta (turn) occurs at line 9: "Who list her hunt, I put him out of doubt." The shift moves from the speaker's personal exhaustion to a warning directed outward — from private suffering to public declaration.
The opening line establishes the extended metaphor of love as a hunt:
"Whoso list to hunt, I know where is an hind"
The word "list" (wishes, desires) places the reader in the position of potential pursuer, while the speaker positions himself as one who has already tried and failed. The caesura after "hunt" creates a pause that enacts the breathlessness of the chase.
"But as for me, hélas, I may no more"
The French exclamation "hélas" (alas) signals the Petrarchan tradition while also marking the speaker's sophistication. The monosyllabic stress on "may no more" conveys physical and emotional exhaustion through rhythm.
"The vain travail hath wearied me so sore, / I am of them that farthest cometh behind"
"Vain travail" carries a double meaning: futile labour and empty suffering. The speaker is last in the chase — the most devoted pursuer is the most exhausted and the furthest behind.
The sestet's warning is devastating:
"Noli me tangere, for Caesar's I am, / And wild for to hold, though I seem tame"
The Latin inscription "Noli me tangere" (touch me not) echoes Christ's words to Mary Magdalene after the Resurrection (John 20:17), lending the hind a sacred untouchability. But the collar also marks her as property — she belongs to "Caesar." The final line's paradox — "wild for to hold, though I seem tame" — suggests that Anne Boleyn (if she is indeed the subject) possesses an inner wildness that no man, not even the king, can truly possess.
AO5 — Different Interpretations: Some critics read the poem purely as a Petrarchan exercise, arguing that biographical readings over-determine the text. Patricia Thomson argues that Wyatt's genius lies in making Petrarch's conventions feel urgently personal. Stephen Greenblatt reads the poem as an example of Tudor self-fashioning, where the speaker constructs an identity through the performance of renunciation.
Sonnet 116 appears in Shakespeare's sequence of 154 sonnets, published in 1609 but likely written over a period from the early 1590s. Unlike Wyatt's poem, Sonnet 116 is not addressed to a woman but appears within the "Fair Youth" sonnets (1–126), which express an intense bond — whether friendship, patronage, or erotic love — with an unnamed young man.
AO3 — Context: The Elizabethan sonnet sequence was a literary fashion driven by Sir Philip Sidney's Astrophil and Stella (1591). Sequences typically charted an obsessive, unfulfilled love for an idealised woman. Shakespeare's sequence is radical in directing its most passionate language at a male figure and reserving its darker, more cynical sonnets for the "Dark Lady" (127–154).
Sonnet 116 follows the English (Shakespearean) sonnet form: three quatrains (ABAB CDCD EFEF) and a closing couplet (GG). Each quatrain advances the argument, and the couplet delivers a characteristically bold conclusion.
The poem's rhetorical strategy is definition by negation — it tells us what love is not rather than what it is, circling around its subject without ever quite pinning it down.
"Let me not to the marriage of true minds / Admit impediments."
The opening echoes the Book of Common Prayer marriage service: "If any of you know cause or just impediment why these two persons should not be joined together in holy matrimony..." Shakespeare transforms a legal and religious formula into a declaration of philosophical principle. The enjambment across the first two lines enacts the refusal to admit impediments — the sentence will not be stopped.
"Love is not love / Which alters when it alteration finds, / Or bends with the remover to remove."
The repetition of "alter" and "remove" in different grammatical forms (polyptoton) creates a sense of love being tested by the very language that describes it. True love does not change when circumstances change; it does not yield when the beloved withdraws.
"O no! it is an ever-fixed mark / That looks on tempests and is never shaken"
The metaphor shifts to navigation: love is a lighthouse or sea-mark, fixed and immovable while storms rage around it. The exclamation "O no!" introduces passionate conviction, breaking the controlled rhetoric.
"It is the star to every wandering bark, / Whose worth's unknown, although his height be taken"
Love is compared to the Pole Star — its position can be measured ("his height be taken") but its true value ("worth") remains beyond human calculation. This is a crucial distinction: love can be observed and experienced but never fully understood.
"Love's not Time's fool, though rosy lips and cheeks / Within his bending sickle's compass come"
Time is personified as a reaper with a "bending sickle" — the same image used in Sonnet 12 ("And nothing 'gainst Time's scythe can make defence"). Physical beauty fades, but love, Shakespeare insists, transcends the body's decay.
The couplet stakes everything on a wager:
"If this be error and upon me proved, / I never writ, nor no man ever loved."
The logic is absolute: if love is not as I have described it, then nothing I have written exists and no one has ever loved. This is either magnificent confidence or rhetorical sleight of hand — the couplet cannot be "proved" wrong because the proof would require erasing all of human experience.
AO5 — Different Interpretations: Helen Vendler reads Sonnet 116 as more anxious than it first appears, arguing that the repeated negations ("not," "never," "nor no") reveal a speaker who protests too much. The poem's certainty, on this reading, masks a deep fear that love does change. Stephen Booth notes the legal language throughout and suggests the poem is less a celebration of love than a desperate attempt to bind the beloved through rhetorical force.
| Theme | Wyatt | Shakespeare |
|---|---|---|
| Definition of love | Love as pursuit, possession, obsession | Love as constancy, an absolute beyond time |
| The beloved | Specific, embodied, dangerous | Abstract, idealised, unnamed |
| The speaker's position | Defeated, exhausted, renouncing | Assertive, declarative, certain |
| Power dynamics | The beloved belongs to a more powerful man; the speaker is powerless | The speaker claims authority to define love itself |
| Form | Petrarchan sonnet (adapted) | English sonnet |
| Tone | Weary, bitter, politically coded | Elevated, philosophical, rhetorically bold |
Exam Tip (Paper 1, Section C): When comparing these poems, focus on how each poet uses the sonnet form to enact their argument. Wyatt's hybrid form reflects his position between Italian tradition and English reality. Shakespeare's three-quatrain structure builds a cumulative case, like a legal argument — appropriate for a poem that borrows the language of the marriage service.